Chok Si Xuan
columnar (2025)
columnar is a kinetic sculpture that examines parasitic coexistence and the politics of resource exchange. Drawing on the banyan fig tree’s ability to envelop and eventually consume its host, Chok Si Xuan reflects on how entanglement, dependency, and slow domination unfold in both natural and engineered environments. The installation is itself its own ecosystem: Mild steel roots extend across the grass, encasing a core of 3D-printed forms, while heart stockings bind these disparate materials together. Syconium-like elements, echoing the banyan’s fruit, gently inflate and deflate, suggesting shared breath and an uneasy coexistence within the columnar forms shaped by the branching steel.  

Grace Tan
Four planes form an axis (2025)
Four planes form an axis, is a 1.5m vitrine of local clay extended from ground. Grace Tan foregrounds clay’s agentic, transformative potential by holding it in suspension. The axes create this tension, with the horizontal axis of clay striations on full view, alluding to time and matter itself. But is disrupted by the vertical vitrine, holding the clay yet not stabilising it. While the form alludes to primal obelisks or megaliths, this work is not a monument but an interval. The work holds matter mid-process, rendering visible a state of formation subject to further transformation.

Ian Tee
POLYCHROME / Mere-Exposure Outside Objectifs (2025)
Suspended between the Chapel and Lower Galleries, POLYCHROME / Mere-Exposure Outside Objectifs takes the form of a five-panel ripstop curtain. The work transforms the passageway into a soft, shifting threshold. Extending Ian Tee’s painterly interests into architectural space, the curtain frames and disrupts the site, gently dividing space while porous and temporary. Swaths of pinks and blues catches the changing light and wind, subtly altering the perception of the site. The work plays on polychromy, which sought to add vitality to sculptures and buildings through colour, and similarly breathes a subtle life into the transitionary pathway.

PG Lee
Plot (2025)
In Plot, PG Lee transforms a soilless cobblestone site into a slice of wild overgrown grass. Grown months in advance, the work foregrounds its own artifice. This pocket of ‘wildness’ is meticulously engineered, highlighting Singaporean’s perception of what is ‘natural’. By presenting a microcosm of the manicured natural states we nostalgically accept as organic, the installation reflects on the quiet politics of the Garden City. Through this temporary intervention, Lee invites viewers to reconsider how this tension can hold space for both beauty and emotional resonance despite its engineered origins.

Sookoon Ang
S.K. Holdings (2025)
S.K. Holdings  imagines a fictional corporation that treats emotion as an asset, managing overflow through its only holdings: two monumental inflatable vessels. Inspired by a metaphor from Ang’s therapist —, of an internal vessel that fills too quickly — the work gives form to the artist’s experience as a highly sensitive person, where each interaction or sound accumulates into an invisible saturation. The inflatables become fragile containers of this excess, inflated yet always on the verge of collapse.

One vessel is mirror-like, warping and reflecting its surroundings; the other is translucent, allowing light to pass through as its form dematerialises. Together, they evoke dualities of opacity and transparency, weight and air, materiality and illusion. By translating archetypal porcelain forms into ephemeral inflatables, Ang challenges ideas of permanence and function, adopting the corporate guise of S.K. Holdings as a poetic framework for holding what resists containment — breath, memory, and feeling.