2018 UNTAPPED EXHIBITION PRESS RELEASE for IMMEDIATE RELEASE Exhibition Dates: 24 November - 21 December 2018 Exhibition Launch: 24 November 2018, 19:00 - 21:00

Chan + Hori Contemporary, 6 Lock Road, #02-09, Gillman Barracks, Singapore 108934

2018 UNTAPPED EXHIBITION PRESS RELEASE FOR IMMEDIATE RELEASE Exhibition Dates: 24 November - 21 December 2018 Exhibition Launch: 24 November 2018, 19:00 - 21:00

UNTAPPED is an annual series presented by the not-for-profit VADA is delighted to announce the ten artists selected for Visual Arts Development Association (VADA) supported by 2018 UNTAPPED: Chan + Hori Contemporary, that invites artists to submit artwork proposals for participation in a group exhibition, within the Daniel Chong Chan + Hori gallery space. Zestro Leow The goal of UNTAPPED is to establish support networks and offer Huijun Lu a platform for local artists at the crucial early stages of their Joanne Pang careers. Artists with up to four years of experience and Fajrina Razak practice were invited to apply and a jury selected 10 artists for the Joel Seow exhibition. Desiree Tham Dan Wong The feature that sets UNTAPPED apart from other emerging Kester Wong artist programmes is its close collaboration with arts patrons. Local Denise Yap patrons provide upfront funding for the project. In return, each patron is able to collect one artwork from the exhibition - which means that over one-third of the artworks shown by these young Venue: Chan + Hori Contemporary artists will automatically be acquired by established art patrons. 6 Lock Road, #02-09, This initiative moves beyond general exposure and connects artists Block 6, Gillman Barracks, directly with individuals who actively support the visual arts in Singapore 108934 Singapore. (Tel: +65 6338 1962)

For 2018, the UNTAPPED Advisory Committee comprised: High-resolution images and the artwork specification sheet from the upcoming exhibition can be downloaded at the following Michelle Ho, Curator, ADM Gallery & Assistant Director, Nanyang Technological University, Singapore WeTransfer link (The link expires on 8 November 2018):

Martin Constable, Assistant Professor, https://we.tl/t-bTUj5d6fuH The Royal Melbourne Institute of Technology, Vietnam

Adeline Kueh, Senior Lecturer, LASALLE College of the Arts, Singapore Chan + Hori Contemporary, 6 Lock Road, #02-09, Gillman Barracks, Singapore 108934

VADA Patrons Present Special $5,000 Cash Prize to Two Emerging Artists

(Left) Kayleigh Goh, Childhood’s Corner, 2017. (Right) Che Xinwei, Mute-Tumult, 2017. (Images courtesy of the artists and Chan + Hori Contemporary)

The 2017 UNTAPPED series consisted of two juried group exhibitions held at Shophouse 5, an art space located in the Geylang area of Singapore. “UNTAPPED Emerging” exhibited new work by up to 10 artists with two to four years of professional practice, while “UNTAPPED Discovery” featured new work by up to 15 artists between the ages of 16 to 35, within their first two years of professional practice.

“UNTAPPED Connections” was a selection of two artists by two art patrons, who would gift $3,000 and $2,000 for one artist from the “UNTAPPED Discovery” and “UNTAPPED Emerging” categories, respectively. A dinner would also be hosted by these generous art patrons to enable connections with other patrons, collectors or academia.

Artists Kayleigh Goh and Che Xinwei were recently announced as the winners of the 2017 “UNTAPPED Connections” cash prize totalling $5,000. They were selected by two art patrons, who have chosen to remain anonymous, and will be invited to a collectors’ dinner in November.

Kayleigh Goh is an independent art practitioner based in Singapore and Malaysia. Trained as a painter, she received her BA (Fine Arts) from LASALLE College of the Arts in 2016 and has participated in exhibitions in Singapore and Malaysia. Her current practice has emerged through her exploration of cement and construction materials as paint. Her works are inspired by her experiences of everyday place as a dweller, traveller and visitor.

Che Xinwei was born in Jilin, China and raised in Singapore. She is a sculptor and site-specific installation artist, who has exhibited internationally in the U.S.A., Singapore and The Netherlands. She received her BFA in Sculpture from the Rhode Island School of Design in 2015. After graduating, she worked as an installation artist for Anthropologie, while building her own art practice. She is now based in Singapore and creates sculptures and installation work in her Tai Seng studio. Chan + Hori Contemporary, 6 Lock Road, #02-09, Gillman Barracks, Singapore 108934

Daniel Chong, A quiet kiss, 2018. (Image courtesy of the artist and Chan + Hori Contemporary)

Daniel Chong Solo Exhibitions (b. 1995, Singapore) 2018 Relying heavily on materiality, Daniel Chong’s practice revolves To touch on tension, Supernormal, Singapore around the unique affects produced between different materials. While working across a wide range of mediums, Daniel selects 2016 materials that are heavily loaded with connotations such as funeral juvenescence; now, Linea de Costa, Rota, Spain flowers, hair, torn photographs and quartz crystals. His works, while not site-specific, are reliant on interactions with different spaces Group Exhibitions to bring forth characteristics of the works themselves. In addition, Daniel’s works have suggestions of the ephemeral, bearing fragile 2018 and delicate qualities. Upcoming exhibition, I_S_L_A_N_D_S, Singapore iLight Marina Bay 2018, Marina Bay Waterfront, Singapore Addressing the subtlety of quiet intimacy and desire, Daniel Loading...Please Wait, Alliance Française de Singapour, Singapore presents new works that explore this concept through RAID, Tiong Bahru Air Raid Shelter, Singapore materiality. The works play with the idea of relationships through the creation of paired objects. A quiet kiss consists of two glass cups glued at their mouths. It takes a simple object and, 2017 through the process of doubling, removes the function of a cup and You’re Reading Into It, Vane Gallery, Newcastle-upon-Tyne, emphasises its form by means of displacement. Connotations of United Kingdom the work draw from the aesthetics of the mundane and domestic. Singapore Contemporary 2017, Suntec City Convention Hall, Filled with one cup’s worth of water - or half the total volume - the Singapore cups seal their bond by becoming one singular vessel. 2016 In Loving beyond sight, two diamond wedding rings are attached Qi, Telok Kurau Studios Gallery, Singapore to the gallery wall with layers of white paint. The resulting effect is subtle, creating a slight bevel on the surface of the wall. The work Ephemera, The Substation, Singapore takes a sign of love and mutes its significance by removing it from MANPOWER Festival 2016, Oficina Colectiva Galleria, the human body and embedding it into the site it is shown in. The Lisbon, Portugal work, while quiet and almost unnoticeable, makes visible the A4 O2O Show Spring Series, CICA Museum, Gimpo, South Korea notion of longing and love that moves beyond an overt sign of #4: Repurposing Nostalgia, 42 Petain Road, Singapore affection. 2015 Cliftons Art Prize 2015, finexis, Singapore Chan + Hori Contemporary, 6 Lock Road, #02-09, Gillman Barracks, Singapore 108934

Zestro Leow, Abduction Phenomenon, 2018. (Image courtesy of the artist and Chan + Hori Contemporary)

Zestro Leow Education (b. 1994, Singapore) 2012 - 2015 Diploma in Fine Art (Ceramics), Nanyang Academy of Fine Arts, Zestro Leow produces ceramics and sculptures that are strongly Singapore influenced by Eastern beliefs and culture. The strong suit of his practice is wheel-throwing, and the incorporation of unexpected textures into his works. He carves into raw clay to deconstruct and Selected Exhibitions assemble different forms, in search of balance within the chaos. 2018 His sculpture series, Enshrine, draws attention to his Shinto beliefs. Artist & Designer Collaboration Project: Featured Artist, Shinto shrines are consecrated structures, built to house gods and H. Arts Collective, L’armoire, Mandarin Gallery, Singapore divine spirits. Zestro posits, once religiosity and spirits are removed Of Human Heritage, Sculpture Society (Singapore), from the picture, whether relics made of bricks and stones are all Art Spice Gallery, New Delhi, India we have left - or if there are other lingering presences or affects? 2017 As he questions his art practice in relation to the value and significance of ceramics, he has also begun to examine the 3rd Taiwan International Miniature Sculpture Exhibition, subconscious influence of his inner world on his works. He also The Sculpture Association of Taiwan, Bo-Ai Gallery, seeks to address the boundaries between what is defined as art National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan and as craft, believing that ceramics as a time-honoured tradition Let Art Speak - Charity Feature Wall, Affordable Art Fair Singapore, contains elements of both. Creators of ceramics can be viewed as Sprint Edition, F1 Pit Building, Singapore both ‘artists’ and ‘artisans’, in their own right. He thus considers the Platform: The Sweet Melting of Time by Zestro Leow & Fyon roles of beauty and function, in his delicate pieces. Cheong, Singaplural - Singapore Design Week 2017, F1 Pit Building, Singapore Zestro is a member of the Sculpture Society (Singapore), which Flagship Genius, Nanyang Academy of Fine Arts, Singapore was the first society in Singapore dedicated to nurture public appreciation of sculpture as an art form. It is a non-profit organisation which is active in advocating the artistic development 2016 of its members through exhibitions, workshops and symposiums. Affordable Art Fair Singapore 2016 - Autumn Edition, Singapore Art Expo Malaysia Plus, MATRADE Exhibition & Convention Centre, Kuala Lumpur, Malaysia Dawn of Youth, Kato Art Duo, Raffles Hotel Arcade, Singapore Supermama Porcelain Festival, Singapore Selection Exhibition, Supermama, Gillman Barracks, Singapore Young Art Taipei, Sheraton Grande, Taipei, Taiwan Art Stage Singapore, Marina Bay Sands, Singapore Second Nature, Sculpture Society (Singapore), Old Married Soldiers Quarters (OMSQ), Singapore Chan + Hori Contemporary, 6 Lock Road, #02-09, Gillman Barracks, Singapore 108934

Lu Huijun, Rote (work-in-progress) , 2018. (Image courtesy of the artist and Chan + Hori Contemporary)

Lu Huijun Education (b. 1994, Singapore) 2013 - 2017 Starting out with moving image works, Lu Huijun found a gap Bachelor of Art (Fine Art) [1st Class Honours], Goldsmiths, between recorded sound and video versus the real-time University of London experience of viewing. This gap sparked her interest in interactive and immersive works. Her works take the form of installations or Selected Exhibitions events, they are combinations of programmed moving parts or respond to the space of display and presence of the viewer to 2018 create sonic or physical happenings. Her works aim to engage with Rumble to the Core, Deptford Cinema, London the viewing audience by sensitising them to their surroundings, drawing upon the instinctive attention that one pays to sound and 2017 movement. NON DUAL presents: Project OneTake performance & film, Hoxton Cabin, London For this exhibition, Huijun will utilise two spaces by the gallery Flo and Friends, The White Hart, London windows, making use of both internal and external spaces. All her Spring Roll-Call, The Morgue, London machine works will be kinetic in nature. 2016 She is interested in the intersection of art, music, engineering and Casa Tomada, Trundleys Road, London computing fields. Her works are often born from diagrammatic Abeerance #8, Platform Southwark, London drawings which resemble free-body diagrams or graphs. She treats materials as both objects of utility and fascination - a mesh net as 2015 a sieve and specimen of the moiré effect. She then programmes and builds circuits to create arrays of moving motors twitching and Untitled, New Cross, London gesturing through space, or disperses materials to create sound or react to human presence. These movements and sounds are 2014 devised by considering properties of music such as rhythm, rest, Trace-Displace, Post-Pop Up at Centre for Contemporary Art timbre and tone. (CCA), Gillman Barracks, Singapore Chan + Hori Contemporary, 6 Lock Road, #02-09, Gillman Barracks, Singapore 108934

Joanne Pang, Hush, 2018. (Image courtesy of the artist and Chan + Hori Contemporary)

Joanne Pang Education (b. 1986, Singapore) 2011 - 2013 The work of Joanne Pang explores the relationship between Master of Fine Arts, Royal Danish Academy of Fine Art, structure, materiality and place. Through installations, sculptures, Copenhagen, Denmark paintings and drawings, she creates situations that evoke a sense of flow which depart from geometry and constraints. With her 2010 paintings, she wants to capture the elusive quality of memory Summer Workshop, Basel School of Design, Basel, Switzerland - focusing on spatial displacements between forgetting and remembering, the idea of letting go versus holding on. As such, she 2005 - 2009 combines the fluidity of ink or water and the plasticity of acrylic to Bachelor of Fine Arts in Visual Communication, echo different states of the mind. School of Arts, Design & Media, Singapore

Working with a reduced colour palette allows Joanne to Selected Solo Exhibitions concentrate on form and flow. She is interested in capturing a state of motion, like a whisper or blink, as opposed to objects and 2018 volume. Essentially, she is interested in the language of abstraction Sulphuric Memory, Supernormal Gallery, Singapore and intuitive expressions seen through mark-making and explorations of composition and forms - in order to translate the 2015 ephemeral aspects of the mind. Echo, M4 Gastatelier, Amsterdam, The Netherlands

Referencing the concepts of time in memory, she works with layers 2014 as a metaphor for the entanglement of memory between the past Come Closer, Visu Gallery, Kokkola, Finland and present. Her paintings are stretched over one another using multiple layers of cloths to produce an overall veiled effect, 2013 challenging our perceptions in confronting the invisible. Situated Ground, Grey Projects, Singapore Out There In Here, Yunrubin Gallery, Copenhagen, Denmark Don’t Tell Me to Relax, Yunrubin Gallery, Copenhagen, Denmark

Selected Group Exhibitions

2018 Locals Only, Taksu Gallery, Singapore

2017 Central Russian Zen, National Centre for Contemporary Arts (NCCA), Moscow, Russia 我们是新加坡创意公民, Singapore Chinese Cultural Centre, Singapore Chan + Hori Contemporary, 6 Lock Road, #02-09, Gillman Barracks, Singapore 108934

Fajrina Razak, I don’t want any traces of you, 2018. (Image courtesy of the artist and Chan + Hori Contemporary)

Fajrina Razak Education (b. 1989, Singapore) 2010 Fajrina Razak’s work questions the relationship between the notion Diploma in Fine Art, Nanyang Academy of Fine Arts, Singapore of individuality and cultural identity, while being driven by elements of emotion and spirituality. This message is translated Selected Exhibitions across mediums such as batik, photography and text-based art. With influences from Shirin Neshat and Zai Kuning, she makes 2018 investigations into her own cultural background. Imago Mundi 3 Nation Show, HULO Hotel & Gallery, Kuala Lumpur, Malaysia The traditional technique of batik is a medium that Fajrina has often used. Through family folklore, juxtaposing traditional motifs 2017 and inventing her own motif to symbolize the Banyumas (a regency in Central Java), Fajrina imagined what the lives of her Kontemporari 2017, ION Art Gallery, Singapore ancestors would have been like in her works titled Airnya Emas Di Ruang, 81 Joo Chiat Road, Singapore Kota Singa (The water is gold in the Lion City) and Jalan Nan Jauh Singapore Arts Federation 50th Anniversary Art Exhibition, (Far Distant). China Cultural Centre, Singapore Noise Art Mentorship Showcase: Proposals for Waterloo, For this exhibition, I don’t want any traces of you is a text-based Waterloo Centre Block 262, Singapore work and continuation from her photographic series of light text scribbling in Healing Identity from 2010. These words resurfaced 2016 when the artist was rummaging through her private notes, written Contemporary 2016 Show, Visual Arts Centre, Singapore in an attempt to forget a person seven years ago. The artist’s choice of using an actual light is necessary to illuminate these words as a Beyond the Surface, part of Singapore Art Week 2016, symbol of forgetting and letting go of a person, faith and tradition. Galeri Utama, The Foothills, Singapore

2015 SG50 Feature Wall, Affordable Art Fair, F1 Pit Building, Singapore

2011 Equilibrium, Goodman Arts Centre Gallery, Singapore Contemporary 2011 Show, National Library Building, Singapore

2010 EXPOSE(D), The Substation Gallery, Singapore Chan + Hori Contemporary, 6 Lock Road, #02-09, Gillman Barracks, Singapore 108934

Joel Seow, Blue Moon, 2018. (Image courtesy of the artist and Chan + Hori Contemporary)

Joel Seow Education (b. 1997, Singapore) 2010 - 2015 The work of Joel Seow has a quiet, foreboding character which Singapore-Cambridge GCE ‘A’ Levels, Raffles Institution, Singapore permeates the spaces he presents - relating to his natural inclination to see the sinister in everyday observations. His Selected Exhibitions paintings are used as a vessel through which viewers can understand the Singaporean environment. Through his 2016 painting process, the human presence is substituted with both Singapore Youth Festival Art Exhibition 2016, lingering desire and an amorphous fear. His work contains hints of The Arts House, Singapore familiar urban imagery that inhabit strangely empty spaces - corridors, roads, construction sites and rooms. 2014 Singapore Youth Festival Art Exhibition 2014, In his painting Blue Moon, hints of construction inhabit an arbitrary space. Traffic cones and blue tarpaulin are familiar symbols of LaSalle College of the Arts, Singapore creation, development and destruction. However, in this painting, they disrupt the expectations of progress and advancement - Awards cordoning off an empty area that gives rise to an uncanny feeling of fear, found within a society constantly afraid of falling behind. 2015 The items construct their own strange ritual, presenting a Raffles Diploma - Merit in Art & Aesthetics meditation on the meanings behind objects and the dissonance between their purpose and symbolism. 2013 Raffles Institution Art Elective Programme Prize 2013, Our secret desire is for a change in the order of things addresses the particular flavour to the loneliness that comes from living in the 1st in cohort city, surrounded by millions of people. Constant physical proximity is not enough to dispel our intimate experience of internal 2012 isolation. Sliding doors, windows and glass are unmistakably part Raffles Institution Art Elective Programme Prize 2012, of a crowded urban environment. They leave us unable to reach 1st in cohort out, yet vulnerably exposed - endlessly transiting between public and private space. In Joel’s work, warmth and quiet solitude is tainted with loneliness and desolation. A familiar MRT train seems emptier than is likely - turning into a static personal enclosure. Yet, at the same time, the viewer is an outsider standing alone in the darkness; unable to cross over the threshold of the entrance. Chan + Hori Contemporary, 6 Lock Road, #02-09, Gillman Barracks, Singapore 108934

Desiree Tham, Resonance of Control, 2018. (Image courtesy of the artist and Chan + Hori Contemporary)

Desiree Tham Education (b. 1992, Singapore) 2016 - 2019 Bachelor of Arts (Fine Arts) [Honours], Desiree Tham is interested in human interactions with LASALLE College of the Arts, Singapore modernization and the notion of global advancement. She uses personal narratives through performances and sculptures as a 2010 - 2013 platform to challenge the discourse with urban culture that we Diploma in Art Teaching, experience in an ever-changing landscape. Desiree references Nanyang Academy of Fine Arts, Singapore everyday gestures to address issues of progress and moving forward. She believes that we live in a world will always be timeless, 2010 - 2015 yet we are continually caught up with notions of the ceaseless Diploma in Fine Arts - Education transition from the past to the present. National Institute of Education, Singapore

The artwork presented in the exhibition is a development from her Selected Exhibitions former work, Resonance of Control. It is a video performance which reflects daily human interaction with everyday objects. She is 2019 [Upcoming] interested in how humans are dependent on the objects that Meshminds, Ultra Super Gallery, Singapore surround us, yet never truly pay attention to the materials that constitute them. The work aims to disrupt our familiarity with non- 2018 human entities, imbuing them with functions which allow viewers I.D (The Body’s Still Warm), 42 Cambridge Road, Singapore to reflect on the structure of everyday society. In turn, it also allows iLight Marina Bay 2018, Singapore viewers to see how objects provide functions for the human body Loading...Please Wait, LASALLE College of the Arts, Singapore in a developing and continuing relationship. One Night Only, LASALLE College of the Arts, Singapore

Video footage portrays bodily interactions with mundane artefacts 2017 which address the possibilities of concentration and attention. Each In Between, Waterloo Arts Centre, Singapore channel is choreographed to reflect a sense of tension, patience, vulnerability, risk and absurdity through use of space and time. 2015 As such, we can reconsider our surroundings and the contrast Disintegration, Artspace222, Singapore between stillness and action, seriousness and humour, intimacy and distance, control and failure. Such contrasts play a part in our daily 2014 routines and habits. Perpetuity, National Institute of Education (NIE) Art Gallery, Singapore

2013 Enroute, Lim Hak Tai Gallery, Singapore Chan + Hori Contemporary, 6 Lock Road, #02-09, Gillman Barracks, Singapore 108934

Dan Wong, Emmohee (MOE), 2013. (Image courtesy of the artist and Chan + Hori Contemporary)

Dan Wong Education (b. 1983, Singapore) 2011 Bachelor of Fine Arts, School of Art, Design and Media, Dan Wong is a commercial illustrator living and working in Nanyang Technological University, Singapore Singapore. His illustrations and paintings are usually centred in Singapore, adopting a satirical stance towards socio-political and domestic experiences. He places great emphasis upon a mixture Selected Exhibitions of both entertainment and provocation, bringing humour into his canvasses. His works have been displayed in various venues in 2018 Singapore such as The Arts House, Aliwal Arts Centre, Viridian Art Auguries of Modern Innocence, The Arts House, Singapore House, the National Museum and The Substation. 2017 Dan presents three works for the exhibition, which address Singawhore: A Good Citizen Solo Exhibition, Artblovk, Singapore controversial realms such as politics and the education system. The first is titledEnnesseff (NSF) and is a critique of National Service in 2016 Singapore. The second and third works are titled Emmohee (MOE) Of Cuckoos and Sparrows, DECK, Singapore and Peeayhpee (PAP), referencing the Ministry of Education and Affordable Art Fair 2016, F1 Pit Building, Singapore People’s Action Party - the dominant Singaporean political party - respectively. His works are created at time-sensitive moments in 2015 Singaporean history such as general elections, or when political Verve 2015, The Arts House, Singapore comments go viral on social media circles. Pioneer Portraits, Orchard Road, Singapore The Singapore March, National Library Bugis, Singapore He addresses the constructed beliefs that have been “hard-wired” Destruction and Rebirth, The Mill, Singapore into Singaporeans since the country’s independence. He aims to pull apart and reveal these elements of control through a process 2014 of self-discovery for audiences, triggered by his works. In his Affordable Art Fair 2014, F1 Pit Building, Singapore opinion, the opening of dialogue channels and reception of both Kaleidoscope, *SCAPE, Singapore negative and positive critique makes his works effective. A Good Citizen, The Vault, Singapore

2013 The Smoke-Filled Room, Aliwal Arts Centre, Singapore The Ride Etiquette, The Substation, Singapore Passionista, The Arts House, Singapore Lit-Up 2013, Aliwal Arts Centre, Singapore Public Garden, National Museum, Singapore Out of Sight, Telok Ayer Performance Arts Centre, Singapore Chan + Hori Contemporary, 6 Lock Road, #02-09, Gillman Barracks, Singapore 108934

Kester Wong, Transition, 2016. (Image courtesy of the artist and Chan + Hori Contemporary)

Kester Wong Education (b. 1998, Singapore) 2011 - 2016 Kester Wong has an artistic practice which is mostly grounded in International Baccalaureate Career-Related Programme, sculpture. He is largely inspired by the physical qualities and School of the Arts (SOTA), Singapore symbolic meanings of the materials he uses such as stone, metal and wood. The works he creates lean towards abstract forms that Selected Exhibitions reflect his emotional states, drawing upon personal experiences and feelings which he attempts to translate into physical form. 2016 Singapore Night Festival, School of the Arts, Singapore He will present two works for the exhibition, titled Reasons and Herein Lies, SOTA IBCP Visual Arts Exhibition, Transition. Through these works, Kester aims to convey his School of the Arts Gallery, Singapore perspective on his relationships with his friends and family. In Reasons, he addressed the difficulties he faced in communicating, due to his dyslexia. He presents his artist statement, written in a 2015 codified language using lines and dots which he generated himself. Singapore Night Festival, School of the Arts, Singapore Transition portrays the feeling of not fitting into society - he uses In Between, Waterloo Arts Centre, Singapore form, sound and materials to present the situation he finds himself Ellipsis, SOTA Year 5 Visual Arts Showcase, School of the Arts, in. The form is that of tradition; the sound is discourse and disorder; Singapore while the materials are both wood and alumnium - which represent the old and new respectively. 2014 Synthesis, SOTA Year 3 & 4 Visual Arts Showcase, His works are further influenced by an interest in music. He is keen School of the Arts, Singapore to accentuate the nuances between what something appears to be, and what it acutally is. It is an attempt to make viewers look Singapore Night Festival, School of the Arts, Singapore beyond the physical presence of the works and instead pay attention to gradations in colour, value, materiality and form. 2013 #YesterdaysFuture, School of the Arts Gallery and Louis Vuitton at Marina Bay Sands, Singapore Chan + Hori Contemporary, 6 Lock Road, #02-09, Gillman Barracks, Singapore 108934

Denise Yap, Counting time, 2018. (Image courtesy of the artist and Chan + Hori Contemporary)

Denise Yap Education (b. 1998, Singapore) 2017 - present Denise Yap questions the idea of accepted mediums such as oil or Bachelor in Fine Art, LASALLE College of the Arts, Singapore acrylic on canvas. She notices that the wooden frame, so integral to the shape of the canvas, is constantly overlooked, with the canvas 2015 - 2017 covering its presence. She used this as a metaphor for how our Diploma in Fine Art, LASALLE College of the Arts, Singapore world is structured by heteropatriarchy, and our dependence on this structure for the world to function. With her work titled 2011 - 2014 Sculpture, she deconstructed the language surrounding the canvas Year 4 Certificate, School of the Arts, Singapore to introduce a new way of seeing - the ability to read a painting through the perspective of sculpture. Instead of reading its Selected Exhibitions “flatness”, there is an emphasis on context and form - not just what is painted on the frame. 2018 Loading...Please Wait, Alliance Française de Singapour, Singapore In relation to her videos, she has ventured into the digital realm as a space which functions on its own logic (language, rules and 2017 commands). She adopts an optimism towards the digital world as Wanderlust, Winston Oh Travelogue Award Exhibition, there is a lessening of hierarchy. However, she also acknowledges that machines are not objective and reflect our reality, beliefs and Institute of Contemporary Arts, LASALLE College of the Arts, principles. Her series of “objective” videos thus seeks to de-centre Singapore the human perspective by disengaging human participation in technology - showing multiple ways of replacing human processes. ANOMALO(US), Institute of Contemporary Arts, They aim to display a sense of detachment and alienation from LASALLE College of the Arts, Singapore what is perceived as the ‘future’, hoping to instigate in audiences a desire for morality and consciousness. How are Mom and Dad and Quotidian Unexceptional Everyday Expected Routine, Capitol Piazza, Singapore

In Hindsight, Institute of Contemporary Arts, LASALLE College of the Arts, Singapore

2016 Conversation Between the Echoes, Brother Joseph McNally Gallery, LASALLE College of the Arts, Singapore Seven SINS, Capitol Piazza, Singapore City Canvas Exhibition, City Gallery URA, Singapore Chan + Hori Contemporary, 6 Lock Road, #02-09, Gillman Barracks, Singapore 108934

PRESS (SELECTED)

The Artling VADA Untapped Discovery 2017

https://theartling.com/en/artzine/2017/11/21/vada-untapped-discovery-2017/

Singapore Art & Gallery Guide 2017 Untapped Discovery

https://sagg.info/event/2017-untapped-discovery/

Lomography 2016 Untapped Discovery Exhibit Boasts 10 Singapore-Based Artists

https://www.lomography.com/magazine/325971-2016-untapped- discovery-exhibit-boasts-10-singapore-based-artists

Art Radar Journal 10 young emerging Singaporean artists

http://artradarjournal.com/2016/12/19/10-young-emerging-singaporean-artists/

PRESS CONTACT Bradley Foisset Singapore [email protected] Tel: +65 6338 1962 Mobile: +65 9646 8828