CLEANSE: Asia Pacific Now

Patricia Amorim

Patricia Amorim is a Perth-based Brazilian artist working across installation, textile-based practices, and photographic processes. She holds a Fine Arts degree from Centro Universitário de Belas Artes de São Paulo and a Master of Fine Arts from the University of Northampton, UK. Currently a PhD candidate at Edith Cowan University with the ECU Higher Degree Research Program Scholarship, her practice explores domesticity, labour, bodily traces, and the cultural rituals that organise daily life.

Through material processes that emphasise duration, repetition, and care, she investigates the gendered history of invisible labour and the ways images and objects carry memory. Her work has been exhibited in the UK, China, Brazil, and Australia, and she has contributed to art education through teaching photography workshops and published journal articles.

Hopscotch Series II
2026
Cyanotype on coloured cotton fabric, embroidery hoops
Dimensions variable, 200 × 200 cm

Desmond Mah 

Desmond Mah 马福民 (b. 1974, Singapore; Singaporean-Australian, based in Boorloo/Perth) draws on the aesthetics of natural history illustration to examine colonial narratives. His work prompts broader conversations on decolonisation, cultural memory, and the politics of representation. Through his paintings, Mah addresses the entrenched structures of othering that sustain ideas of superiority and control, along with the systems and ideologies that uphold them. Incorporating expanded elements such as QR-linked audio, his practice creates immersive experiences. This multidisciplinary approach is shaped by his ADHD, which favours experimentation over routine. Mah earned a BA (Hons) in Painting from Loughborough University, UK (1998), supported by a Lee Foundation (Singapore) scholarship, and a diploma from LaSalle College of the Arts, Singapore (1997). Prior to beginning his practice in 2017, he worked in art education (secondary schools) and horticulture. Of Hainanese, Kinmen, and Singaporean descent, Mah migrated to Australia as a teenager in the 1980s, a period of heightened hostility towards the Asian diaspora in Boorloo. Mah’s achievements include the E.SUN Bank Special Selection Prize (Taiwan, 2022) and the Southern Buoy Studios Portrait Prize (Australia, 2021). He has been awarded grants and participated in numerous exhibitions, residencies, and commissions, notably the Fremantle Arts Centre Studio Program (2023) and two Red Gate Residencies (Beijing, 2018). His works are held in notable collections. Exhibition highlights include Inside-Out Art Museum (Beijing, 2025), the Collie Art Prize 2025 finalist and the Indian Ocean Craft Triennial at Mossenson Galleries (Australia, 2024).

Gahmen
2026
Synthetic polymer paint and mixed media on canvas
15 pieces; dimensions variable:
8 pieces, 60 × 50 cm max. each
7 pieces, 40 × 30 cm max. each

Lia McKnight

Lia McKnight is an artist and curator based in Walyalup (Fremantle) WA. Working across drawing, sculpture, textiles and installation, her work speculates on the nature of being by referring to the everyday alchemy of growth and decay. Lia is currently artist in residence at Walyalup Fremantle Arts Centre, working on a multidisciplinary collaborative project exploring grief, healing practices and the work of women. She has been invited to participate in numerous group exhibitions and awards and has presented five solo exhibitions. She has engaged in residencies at Art on the Move and PICA and created temporary public art commissions for the City of Fremantle and the City of Subiaco. Her work is held in private and public collections including Murdoch University, Curtin University, City of Perth and City of Joondalup. Lia has been Lead Curator at the John Curtin Gallery since 2023.

TTT The Way of Rain
2026
Natural indigo-dyed found linen, cotton and Kinoma thread
172 x 236 cm

Colin Villapa

Colin Villapa is a Filipinx artist practicing on Whadjuk Noongar boodja (Boorloo/Perth). Their interdisciplinary visual arts practice is informed by their experiences in navigating the world through a queer and neurodivergent lens and examines ideas of friendship, faith and personal belief systems, where they emerge and how they are expressed under late-capitalism. These ideas are often playfully explored through their collaborative practice with artist and friend Jen Datu and through karaoke performance, digital collage, sculpture and installation. Colin has held joint residencies and mentorships alongside Jen with NOD (WA), Walyalup Fremantle Arts Centre (WA), Perth Institute of Contemporary Art (WA) and Next Wave (VIC) and has exhibited at Lawrence Wilson Art Gallery (WA), Pig Melon (WA), Lawson Flats (WA) and Brunswick Mechanics Institute (VIC). Colin graduated from Curtin University (WA) with a Bachelor’s degree in Fine Arts in 2017.

Dream (Share) House Sink
2026
3D print, enamel paint, diamond grille security screen, glass, downlight, faucet, water
45cm x 56cm x 60cm

Wang Guofeng

Wang Guofeng 王国锋 (b. 1967) is a contemporary visual artist. He was recognized as one of the Top15 Asian Contemporary Photographers by the International Photography Award (IPA2019), named “Artist of the Year-Photography” for the 8th Award of Art China (AAC2014), received Honorary Award for the Moscow International Foto Award (MIFA2014), and shortlisted for “ING Real Photography Award”(2007). He was born in 1967 in Liaoning, China, and graduated from the Chinese painting and art history departments of the Central Academy of Fine Arts.He currently lives and works in Beijing.

Ordering the Body 2015 No.2
2015
Digital art Giclée Print
122 × 267.3 cm X 2

North Korea 2013 No.2
2013
Digital art Giclée Print
247 x 186 cm

Gardika Gigih

Gardika Gigih (b.1990, Indonesia) is an Indonesian composer, pianist, and researcher whose practice bridges music, cultural anthropology, and sound ethnography. Trained in composition at the Indonesian Institute of the Arts and later in cultural anthropology, his work spans concerts, improvisation, film scoring, and multidisciplinary collaborations.

His research includes a Japan Foundation–supported journey across Southeast Asia and Japan documenting soundscapes as cultural narratives, as well as ongoing projects exploring indigenous and contemporary musical practices in the Philippines.

He was the 2023 Asian Cultural Council Fellow in New York. He continues to develop globally informed works addressing socio-cultural and environmental issues, including his award-winning composition Mimpi Owa: A Duet with Javanese Gibbons.

Dibuang Sayang (Throw Away Dear)
2026
Composite mask constructed from discarded materials collected across Singapore
Single-channel video documentation with sound
8:00

Maharani Mancanagara

Maharani Mancanagara, or known as Rani, is an Indonesian artist whose works explore and reinterpret Indonesia’s complex and sometimes sensitive issues of modern socio- political and cultural history through fictional storytelling.

She studied printmaking at Institut Bandung where she began to utilize drawing, print, and installation, often time on wooden surfaces.

Rani’s interest towards history began when she discovered her grandfather’s diary, which led her into a journey of intertwining a plethora of personal histories that reflect larger socio-political dynamics of 20th-century Indonesia.

In her research, she often encountered intriguing personal narratives, often imbued of the source’s own subjectivity, which offers an alternative view towards documented history as well as revealing its complex layers.

Organized Memory, Unresolved Past
2026
Charcoal on wood
200 × 300 cm (configurable)

Nurrachmat Widyasena

Nurrachmat Widyasena (b. 1990) is an Indonesian artist based in Bandung. Trained in printmaking at the Bandung Institute of Technology, he explores the intersection of installation, drawing, and experimental image-making. His practice frequently reflects on retro-futurism, particularly the Space Age era when humanity imagined utopias beyond Earth.

Positioning himself between reality and fantasy, he questions why the promises of progress from the 1940s to the 1980s—centered on technology, modernism, and collective destiny—continue to haunt contemporary imagination. Through metal plates, acid etching, and assembled imagery, he creates objects that feel like relics from futures that never arrived.

At the core of his work lies a tension between admiration and irony. As an artist from the “third world,” he confronts the paradox of celebrating Western futuristic ideals amid fragile realities. By placing symbols of ambition—such as satellites and astronauts—alongside traces of failure, Nurrachmat asks whether the future is truly something we are building, or merely something we continue to promise ourselves.

Cultural For The Future
2026
Digital print and painting on aluminum plates
Dimensions variable

Sutee Kunavichayanont

Sutee Kunavichayanont is a Bangkok-based Thai artist whose conceptually layered practice combines critical inquiry with accessible, participatory forms. Educated at Silpakorn University and the University of Sydney, he is widely recognised for landmark works such as History Class (2000) and his inflated latex sculptures, which invite audiences to engage physically and critically with questions of memory, authority, and historical narratives.

Responding to Thailand’s rapid social, economic, and political transformations since the 1990s, his practice examines nationalism, power, identity, education, and collective memory through familiar visual languages that encourage public participation and dialogue. Often employing humour, play, and everyday materials, his works make complex political and historical issues accessible while prompting viewers to reconsider accepted histories and systems of knowledge.

Exhibited internationally since the 1980s, his work is held in major institutional collections including the Mori Art Museum (Tokyo), Queensland Art Gallery | Gallery of Modern Art (Brisbane), Fukuoka Asian Art Museum, Singapore Art Museum, and the KOC Foundation (Istanbul). Alongside his artistic practice, he is Professor of Painting in the Faculty of Painting, Sculpture and Graphic Arts at Silpakorn University.

Blackboard
2026
Performance at the Opening Reception

Chen Sai Hua Kuan

Sai (aka Chen Sai Hua Kuan) is known for his sound-interactive sculptures, installations, and public artworks that transform everyday experiences into spaces of becoming—where ordinary moments come alive with play and possibility. His practice is both perceptive and playful, often inviting fresh interpretations of the familiar and prompting audiences to reconsider habitual ways of seeing through humour and surprise.

Sai graduated from LASALLE College of the Arts in 1997 and obtained his Master of Fine Art from the Slade School of Fine Art, University College London, in 2007. His works have been widely exhibited in Singapore and internationally, including Night to Light Festival (National Gallery Singapore, 2023), Refuse (Singapore Art Museum, 2022), Sensory Grammar (Museum of Contemporary Art Busan, 2021), Outlining Space (National Centre for Contemporary Art, Kaliningrad, 2021), Gangwon Triennale 2021 (South Korea, 2021), The Sense: Breathe between Excess and Deficiency (Total Museum, Seoul, 2019), If the World Changed (Singapore Biennale, 2013), and Busan International Short Film Festival (Busan, 2010), among others.

Color TV Sound system. Air conditioner. Computer. Washing machine. Water heater for sale.
2026
Marine debris, canvas, magnets, steel sheet
Variable size

Debbie Ding

Debbie Ding is an artist working across the intersection of artistic research, technology and game studies, with professional experience as design educator and interaction designer. She is currently Assistant Professor in Digital Arts at Singapore University of Technology and Design. Her practice-based PhD research explores psychogeography in virtual worlds, and games in contemporary art practice. Her work was shortlisted for the President’s Young Talents 2018 and Impart Art Awards 2020 and is collected by the Australian War Memorial and Singapore Art Museum. Notable exhibitions include “Another World is Possible” at Marina Bay Sands ArtScience Museum, “Radical Gaming” at HeK Basel, “Worldbuilding” at Julia Stoschek Foundation Dusseldorf, Ars Electronica, “Wikicliki” at Singapore Art Museum, “Radio Malaya” at NUS Museum, “Construction in Every Corner” at NTU Museum, Kochi Biennale, and Singapore Biennale 2026. Scholarships include the NTU Research Scholarship and NAC Postgraduate Scholarship (Visual Art), and funded residencies with Australian War Memorial (Canberra), Dena Foundation (Paris), and Goethe-Institut Singapore.

Computer Game Studies, Year Twenty-five
2026
Gloss Metal Print
67.5cm x 48 cm

Hong Shu Ying

Hong Shu-ying 方舒颖 (b. 1997) hoards images and stories to make sense of how things are learned and passed on. Working across moving images, prints, and printed matter, her practice begins with images, notations and other vernacular working documents in circulation. She is interested in the drifts, contradictions and adaptations that allow shared ways of knowing and working to remain legible as they pass through different hands and contexts. She grew up in amateur Chinese orchestras, where learning took place through photocopied scores, handwritten annotations and imitation. Alongside this, she spent her teenage years collecting and reposting images online. These parallel habits shaped how she looks at vernacular working documents—not simply as records, but as evidence of how information, knowledge and conventions are continually transmitted, adjusted and kept alive through use. This curiosity extends beyond the studio. She co-founded Part Time Book Club, an informal collective that expands public access to art books through gatherings and exchanges. In response to limited access to formal residencies and the demands of international travel, she also initiated | | on paper, a resource-lean residency centred on conversations and four sheets of A4 paper, grounded in the belief that meaningful artistic exchange can grow from modest resources.

Barnacles
2020–2021
Archival inkjet on Awagami kozo paper (mounted on Wood)
100 x 80cm

Alecia Neo

Alecia Neo (Singapore) is an artist and cultural worker. Her practice unfolds primarily through photography, video installations and participatory workshops that address modes of radical hospitality and care. Her recent projects include Performing Normal (2024 – 2025) at the Singapore Art Museum, Performing Care (2023) at Esplanade Tunnel, Scores for Caregiving (2023), a participatory installation commissioned by ArtScience Museum, a site-specific art installation Power to the People (2022) at the Karachi Biennial. Conceived during the Covid-19 Pandemic, her long-term research, Care Index, seeks to understand care through dialogue, movement and collaborative practices. The project builds on an earlier collaborative artwork titled, Between Earth and Sky (2018), which was developed with a group of caregivers in Singapore. Care Index has been recently presented at MMCA Seoul, La Trobe Art Institute, The Listening Biennial, Assembly for Permacircular Museums (ZKM, Center for Art and Media Karlsruhe), New Season of Care (Asia-Art-Activism) and Presence of Mind (Gallery Lane Cove, NSW, Australia).

She is the co-founder of Brack, an art collective and platform for socially engaged art and the Ubah Rumah Residency on Nikoi Island, Bintan, which focuses on the intersection of art, hospitality and ecology. Active since 2014, her ongoing collaborations with disabled individuals and communities manifest as an arts platform, Unseen Art Initiatives. Alecia has been an artist-in-residence at diverse art institutions such as Bamboo Curtain Studio (Taipei), The Substation (Singapore), NTU CCA (Singapore) and UNIDEE in Biella, Italy.

Between Earth and Sky
2018
Video projection, bamboo kites with photography-printed fabric
Dimensions variable

Delia Prvački

Delia Iliesiu was born in 1950 in Baia Mare (Northern Transylvania), Romania. From 1970 to 1975 she studied at Institute of Fine Arts in Bucharest where she earned a Master Degree in Applied Arts/Ceramics. In 1992, together with husband, artist Milenko Prvački and daughter Ana, Delia emigrated to Singapore, becoming a Singapore citizen in 2002.

Delia’s body of work since early ‘80s has been focused on establishing a new vocabulary and significance for the sculptural medium generated by available technologies and endless modalities of expression in ceramics, often experimenting with mixed techniques and strongly influenced by her passion for other forms of arts and archaeology as well.

Mine #4 (The Long Journey of the Ores)
2026
Ceramic installation with timber structure
Variable dimensions
720 x 80 cm

Milenko Prvački

Born in 1951 in Yugoslavia, Professor Milenko Prvački graduated with a Master of Fine Arts (Painting) from the Institute of Fine Arts in Bucharest, Romania. He is one of Singapore’s foremost art educators, having commenced teaching at LASALLE College of the Arts since 1994. He was Dean of the Faculty of Fine Arts for 17 years and currently holds the position of Senior Fellow.

Since 1971, Prof Prvački has exhibited extensively in Europe. He has also participated in numerous showcases in public spaces and galleries in Singapore since 1993. With solo shows held in Singapore, Kuala Lumpur, Sydney and Jakarta, he also took part in group shows held at the Museum of Modern Art in Antwerp, Belgium, the Torrance Art Museum in Los Angeles, the National University of Singapore Museum, Singapore and the Sydney Biennale, Australia.

He has also participated in numerous symposiums and art workshops worldwide, including a panel discussion on Southeast Asian art held at the Singapore Art Museum in 2011, an artist talk at the Istanbul Biennale in 2007, a discussion on Southeast Asian art in Belgrade, Yugoslavia in 2001, as well as acted as visiting professor at Musashino Art University in Tokyo and Sabanchi University in Istanbul. His works are in the permanent collection of the Gallery of New South Wales, Sydney Australia, Museum of Contemporary Art, Belgrade, Serbia, Singapore Art Museum, Singapore and Museum of Contemporary Drawing, Nurnberg, Germany, among others.

Prof Prvački became a Singapore citizen in 2002 and was conferred the prestigious Cultural Medallion for Visual Arts in 2012.

Methods and Materials
2010
Mixed media on linen and canvas
161 x 169 cm each

Superlative Futures

Superlative Futures is a transdisciplinary research studio in Singapore and is co-founded by Wong Zi Hao and Liu Dian Cong. The research practice centres on creative modes of landscape representation to advocate new ways of seeing, and through that speculate alternative futures where cities might better co-exist with more-than-human worlds. They have exhibited at NUS Museum, the Listening Biennale, and the ArtScience Museum, and were supported by Singapore Art Museum’s inaugural Design Research Fellowship, 2024-2025. Wong received his PhD in Architecture at the National University of Singapore in 2023, having completed a design-research thesis on intertidal practices of care. Wong is also Senior Lecturer at the School of Fine Arts, Nanyang Academy of Fine Arts, University of the Arts Singapore. Liu currently practices as an architectural designer, after completing his Master of Architecture at NUS in 2024, exploring sedimentation and alternative conceptions of ground.

Afterglow, Broken bones along Nusa Lembongan
2026
Pencil and ink wash on pricked paper, with light box
1000mm(l)X270mm(h)X90mm(d)

Afterglow, Ghosts in the Harbour
2026
Pencil and ink wash on pricked paper, with light box
1000mm(l)X270mm(h)X90mm(d)

Moses Tan

Moses Tan (he/they) is an artist and curator from Singapore who is interested in the intersections of queer theory, the decolonial turn, autotheory, and politics, while exploring ideas of melancholia, mythology, horror, and botany. In their work, they employ sculpture, drawing, found objects, and video in essayistic installations. Moses is currently a candidate at the MFA Fine Arts program at Goldsmiths University of London. Previously, they obtained a BA(Hons) First Class Honours from LASALLE College of the Arts and a BSc(Hons) from Nanyang Technological University, Singapore. They also founded and run starch, a non-profit, independent space in Singapore.

They were awarded the Postgraduate Scholarship Award from the National Arts Council, Singapore, in 2024 for their study at Goldsmiths, University of London, the LASALLE Award of Academic Excellence in 2016, and the Winston Oh Travel Research Grant. They have shown in various spaces and institutions, including Kadist San Francisco (US), Singapore Art Museum (SG), JW Projects (SG), Ames Yavuz (SG), 1a Space (HK), Indiana University (US), and at 4A Centre for Contemporary Asian Art (SYD). They have also completed residencies at Santa Fe Art Institute (US) and Perth Institute of Contemporary Art (WA). Moses has also presented at art fairs, including Untitled Art Miami Beach 2025 US), Asia Now Paris 2025 (FR), and recently at ART SG 2026 (SG). Their works are in institutional collections, including the Singapore Art Museum, Kadist Foundation, and have also recently been collected by the Museum of Contemporary Art (MOCA), Bangkok.

Warm Shades of Asphalt Blue
2026
Video, 5:54

Wang Ruobing

Wang Ruobing is an artist, educator and independent curator. Her art practices explore our position with our environment in the contexts of ecology and knowledge production. Ruobing’s work has been exhibited in both local and international exhibitions, with recent participations that include “Flowing with the Waves: Intercultural Sea Stores in Motion” (2026), “Singapore International Festival of the Arts” (2025), the “Children’s Biennale” at the Groninger Museum in the Netherlands (2024) and the National Gallery Singapore (2023); “Articulate Waste” at Absolute Art Space in Taiwan (2024); and “Nurturing Nodes in the Nook of an Odd Sock” at the Miyauchi Art Foundation in Japan (2024). Ruobing holds a Doctor of Philosophy degree from the University of Oxford, United Kingdom, and previously was as a curator at the National Gallery Singapore. Currently, she is a Lecturer at LASALLE | University of the Arts Singapore, and a co-founder of the independent art space, Comma Space.

Rainforests of the Sea: Pulau Ubin
2018
Marine debris, canvas, magnets, steel sheet
122 x 210 cm

Ezekiel Wong

Known for his sardonic wit, Wong’s practice draws on satire to surface tensions in society, geopolitics, and personal experience. His works adopt a comical yet critical lens to explore identity, systems of power, and contemporary life.

He has exhibited widely in Singapore and abroad. Selected exhibitions include The Strange Archive (Tanjong Pagar Distripark, Singapore Art Week 2026); Sama-Sama (Whitestone Gallery Singapore, 2025); Many Worlds at a Glance, Many Worlds All at Once (Institute of Contemporary Arts Singapore, 2024, part of LASALLE40); Signs and Wonders, Sighs and Wanders (SUPERMAMA Flagship @ 213, 2024); Commoners (Esplanade, 2017); Liminal State (Mizuma Gallery, 2016); and At Source (ION Art Gallery, 2015, Young Talent Programme Winners’ Solo Exhibition).

His works have also featured in the Singapore Night Festival (Opera in Motion: A Dynamic Tribute to Chinese Opera, 2024) and Light to Night Festival (Art in Motion: The Merlion Dance, 2021), and internationally at the AWAGAMI International Miniature Print Exhibition (Japan, 2023), Bienal do Douro (Portugal, 2018), Sabanci University (Turkey, 2010), and Pocket Films Festival (Japan, 2007).

Wong holds a Master of Arts in Art Education from Nanyang Technological University and a Bachelor of Fine Arts (Honours) from LASALLE College of the Arts in partnership with Goldsmiths, University of London.

*Flap Flap*Flap Flap*
2026
Charcoal on canvas
170 × 170 cm

Out or Balance
2026
Charcoal on canvas
170 × 170 cm

Yang Jie

Yang Jie is a Singapore-based sculptor whose practice bridges electronics engineering and sculpture. Working with household objects and industrial machines, he interprets from the traces of wear, into narratives of use and misuse. Through kinetic systems, circuitry, and sound and attempts of repair, he transforms found objects into performative sculptures that reinterpret human gestures and experience. His works reflect on how things made by human hands often outgrow their original intentions, unfolding with new meanings through interaction and movement. Engaging space and time, his practice reveals the quiet, evolving relationship between people and the objects that shape—and exceed—them.

Based in Singapore, he has exhibited internationally, most recently creating The House Between the Winds (2025), a kinetic installation activated by a performance commissioned for Singapore International Festival for Arts at the Empress Lawn, Traces of Time (2024), a series of kinetic installations at the Kunstlerhaus Bethanien, Berlin, …all the king’s men (2023), a public art sculpture/bench installed along the Singapore River, Breath of the Land (2025), a collaboration with sculptor Lim Soo Ngee at the Esplanade Concourse.

Where Would Grime Alight?
(Series of 3 kinetic sculptures)
2026
Brass, motors, soap, feather duster, electronics
18 x 12 cm (soap scrubber)