Cry Now

Chen Chunmu

Chen Chunmu 陈春木 (b. 1981) graduated from the Oil Painting Department of the Fine Arts College of Fujian Normal University in 2003. Mysterious creatures and plants – enigmatic imagery that seems to be derived from the artist’s dreams – characterise his surrealist paintings, which are rendered in subtle colours with flowing brushstrokes. The hybrid beings that Chen creates are a way of reflecting on childhood memories of exploring the deep mountains and forests in his hometown. Yet they also convey the ambivalent feelings experienced by many of his generation about the uncertainty of life in a rapidly changing world. Since 2002, Chen has participated in numerous group exhibitions around the world. His work Floweriness was presented at the Song Zhuang Art Museum in Beijing in 2006 and was later acquired by the White Rabbit Museum in Australia. In 2007, he took part in the show titled Gathering: Nine Artists’ Exhibition of Contemporary Art at Quac Art Space, Beijing. In 2010, his works were included in The Big Bang at the White Rabbit Museum in Australia and The World Around: Exhibition of Ten at the Gehua Museum in Beijing.

In 2013, Chen participated in The First China-ASEAN Biennale in Guangxi, China. In 2014, he participated in the Fujianese Contemporary Art Exhibition, Soka Gakkai Malaysia, Malaysia, Art Expo Malaysia Sdn. Bhd., Kuala Lumpur, Malaysia. That year he also showed work in New Horizons: Young Artist New Works at 798 Arts Center in Beijing and A Life Without the Thrill of the Order at the Hong Kong Museum of Art. In 2015, his work was included in Meta Vision: Seven Unique Languages’ Personal History at Rainbow Wall Art Gallery in Beijing. Now, Chen Chunmu lives and works in Beijing.

Withered Tree in Spring – 02
2024
Oil on canvas
200 x 180 cm

Warm Breeze – 03
2025
Oil on canvas
90 x 73 cm

Jungle – Rhizome
2024
Oil on canvas
25.5 x 25.5 cm

Desmond Mah

Desmond Mah (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).

A Tyrant at Koorabup
2024
Mixed media on rice paper board
38 x 87 x 3 cm

Lunch at This Zoo
2025
Acrylic and mixed media on canvas
120 x 100 x 2 cm

The Workers in That Enclosure
2025
Acrylic and mixed media on canvas
120 x 100 x 2 cm

Kanoko Takaya

Kanoko Takaya 高屋 佳乃子 (b.1991) is an artist from Kyoto, Japan whose works explore the relationship between the human body, emotions, and self-discovery. She expresses these themes through the use of tactile and organic forms, as well as a vast exploration of materials. In 2016, Kanoko moved to Bali, where she began to focus on introspection and discovering her inner self as an individual. In the process, she began using a variety of materials in her practice as a medium of self-expression. Her work attempt to transcend the boundaries of painting and sculpture by her endless experiments and unconventional use of techniques. Kanoko’s works are characterized by curves and textures that evoke associations with the human body. As a result, her works often offer a sense of familiarity and intimacy to the audience.

At the core of her work is the pursuit of discovering the inner-self through intuitive expression and conscious decisions. By engaging with shapes, symbols and textures in habitual ways, she is free to create visual rhythms that convey her ever-changing state of mind. Kanoko’s approach in her practice embraces her ability to be emotional yet rational with her artistic process.

Yuuhi (Sunset)
2025
Acrylic, japanese clay, resin, putty, epoxy on stitched foam-filled canvas
28.5 x 22.5 x 6.5 cm

Koyake (Small Night View)
2025
Acrylic, japanese clay, resin, putty, epoxy on stitched foam-filled canvas
29 x 22.5 x 8 cm

Gyutt and Kiku (Hugging)
2023
Mixed media on wood
112 x 94 x 19 cm / 112 x 95 x 18 cm

Pearl C. Hsiung

Pearl C. Hsiung 熊家珍 (b. 1973) is an American Multimedia artist born in Taiwan and currently residing in Los Angeles. Raised and educated in California, she earned her Bachelor of Arts degree from the University of California, Los Angeles, in 1997 and her Master of Fine Arts degree from Goldsmiths, University of London, in 2004. Initially working in commercial fashion design, Pearl soon realised it was not fulfilling and transitioned to artistic creation. Her works reflect her Taiwanese heritage and her upbringing in Los Angeles, employing bright colours, bold application techniques, and imagery influenced by the everyday and pop aesthetics of both cultures.

Hsiung’s art is characterised by its boldness and innovation, using hand-crafted imitations of computer graphics and mural-like vibrant colours to create a lively and fantastical artistic world. Humer is often employed in her works to critique cultural identity and challenge conventional notions of art creation.

Simurgh II
2017
Oil-based enamel and acrylic on canvas
198 x 152.4 cm

CRY NOW (J.B.B.D.B)
2025
Acrylic paint and sumi ink on watercolor paper
106.7 x 88.9 cm

Shecretes
2008
Oil-based enamel on canvas
172.7 x 132 cm

Rick Shi

Rick Shi 石芮豪 (b. 1993) is an artist and curator whose practice spans painting, moving image, and visual narrative. Trained at the University of Electronic Science and Technology of China, Sichuan Normal University, and the Sichuan Fine Arts Institute, he works between traditional oil painting and contemporary conceptual approaches.

Shi’s work examines the subtle links between people, objects, and social structures. Since 2022, he has focused on symbolic relational systems—such as the “food chain” and “character chain”—and the power, ethics, and behaviours embedded within them. Through layered composition and narrative-driven colour, he turns these inquiries into visually striking and conceptually grounded paintings. His works have been exhibited in China and Europe and are held in several European collections.

Shi founded Artistic Clouds in 2019 and has served as Director of Prestige Gallery since 2022, where he oversees artist collaborations, exhibition programming, and curatorial development. His curatorial projects integrate art-historical insight with contemporary social observation, addressing public and timely cultural questions.

Human–Food Chain Series I
2025
Oil on recycled wood panel
27 x 32.5 cm

Human-Food Chian
2025
Oil on recycled wood panel
27 x 32.5 cm

About Human-Food Chain Series

Human-Food Chain Series grew out of a simple dinner that prompted Shi to reconsider how humans choose what becomes “food”—and what happens if that relationship is reversed. The series constructs an inverted world where animals, food, and people exchange roles, exposing the fragility of human-centred logic.

By disrupting familiar viewing habits, Shi questions assumptions about survival, choice, and power. The works extend beyond ecology to reflect on broader social structures—the dependencies, conflicts, and shifting dynamics between individuals, groups, humans, and objects. The series ultimately probes the mechanisms that shape both human behaviour and civilisation itself.

Tan Sock Fong

Glass artist and printmaker Tan Sock Fong 陈淑芳 (b. 1966) was a recipient of the Mobil Art Scholarship in 1988. She received her Bachelor’s Degree in Art and Design (Hon) from the University of Wolverhampton (England) majoring in Glass in 1993, on a National Arts Council overseas study bursary.

Beginning in the 1980s as a young artist, Sock Fong has also been a dedicated teacher and active supporter of the art scene in Singapore. Sock Fong shares her extensive experience and skills through her artwork and also through innovative art programmes at her studio at Emily Hill and at various local institutions. She has lectured/taught at La Salle College of the Arts, Nanyang Academy of Fine Arts, Singapore Polytechnic and Nan Chiau High School.

Aequilibrium
2023
Cast glass, fused glass, stone
11 x 32 x 9.5 cm

Ireland I
2023
Cast glass, stone
23 x 23 x 4 cm

Heart to Heart
2023
Cast glass, stone
13.5 x 19.5 x 5.5 cm

Teo Huey Ling

Teo Huey Ling 张慧玲 (b. 1974) ’s artworks strive to achieve an ambiguous form, shifting biomorphic curves through repetition, overlapping, and juxtaposition. Her body of work includes several series, such as the Knitted Series, A Little Daydream, Amorphous, Convenes in Curves, and most recently, In-Between Curves. Each series has expanded versions made in different materials, including porcelain, merino wool, and wood.

In her latest series, ‘In-Between Curves’, Teo’s ceramic artworks delve into the subtle spaces between forms, inviting viewers to discover the negative space that emerges from the interplay of flowing, biomorphic curves. The series explores what exists ‘in-between’—whether it is the space between opaque and translucent materials, or the harmony and contrast found among the interdependent curves. Beauty is created through clarity and ambiguity of these elements between these concave and convex surfaces.

The works offer both structure and calmness, arising from the ideal of in-between-ness. Just as life often requires us to navigate not only the black or white, but the grey spaces in between, where possibilities, compromises, and subtle nuances lie. The fluidity of these forms speaks to the ever-shifting nature of our experiences, where answers are not always clear, and meaning is often found in those grey areas.

Teo develops her personal visual language through mastering various technical skills, including hand-building, press-moulding, and slip-casting porcelain. Yet the overarching form remains organic, involving a complex visual interplay of curves, often resembling floral petals from every angle, inviting viewers’ imagination and interpretation.

In-Between Curves Series
2025
Glacial porcelain

In-Between Curves Series
2025
Glacial porcelain

Shecretes
2018
Khaya wood
108 x 26 x 26 cm