ARTISTS
The Spectral Faith Of Our Minor Flirtations
Fost Gallery is delighted to present a group exhibition, The Spectral Faith of Our Minor Flirtations, featuring eight Singaporean and Singapore-based artists. Put together by independent curator, Louis Ho, the show is a genre-bender, oriented around the melding of craft-based techniques and installation art. The expansive range of mediums suggested by 鈥渃raft鈥� are often relegated to the peripheries of contemporary art; even today, the label bears about it a whiff of the domestic, the functional and the un-ideational. The artists in this show were invited to consider the possibilities of craft in a spatial sense, i.e. as objects that respond to their environment. They utilised ceramic, paper, wood and textiles, among other materials, to produce works that speak to their surroundings, whether that space is physical (the interior architecture of FOST Gallery鈥檚 site) or conceptual (the discursive space occupied by 鈥渃raft鈥� in the landscape of contemporary art). In presenting the possibilities and potential of craft practices spatially, this exhibition is an experiment in collapsing two disparate genres.
Objects include Adeline Kueh鈥檚 tapestry of fabric rosettes, glass beads, hand-made marks and LED lights, a response to the relationship to our tropical climate of moisture, mould, mildew; Bernie Pacquing鈥檚 wooden structures inspired by termite mounds and his abiding interest in the engineering of domes, and positioned in the nooks and crannies of the site, with one located at the bend between two walls and the other at the mouth of the mail slot; Tan Shao Qi鈥檚 delicate, exquisite paper cutouts, displayed in a manner designed to speak to particular facets of the gallery鈥檚 architecture, as well as her photographic prints with ceramic elements; Bea Camacho鈥檚 crocheted objects that, while retaining the texture and aura of comforting, hand-crafted wearables, assume non-utilitarian forms that allude to the ultimately futile effort to connect on an interpersonal level; Grace Tan鈥檚 panel constructed from thousands of interlocking, looped cable ties, premised on German architect Gottfried Semper鈥檚 ideas of textiles as the origin of architecture; Divaagar鈥檚 creation of a fictional craft artist, named Stitch, in a digital video interview, accompanied by an actualized instance of a work by this (nonexistent) entity; Lim Zeharn鈥檚 kinetic installation of twisted twine on a wall that moves constantly to create tiny dashes, similar to the 鈥榤arching ants鈥� effect of selection tools found in computer graphics programs, weaving together a digital tool and a physical surface; Hazel Lim鈥檚 origami paper tapestry is hung from an overhead beam in the gallery, inserting itself through a slot, mimicking how nature seeks out spatial opportunities to grow and expand even through the smallest openings.
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Fost Gallery is delighted to present a group exhibition, The Spectral Faith of Our Minor Flirtations, featuring eight Singaporean and Singapore-based artists. Put together by independent curator, Louis Ho, the show is a genre-bender, oriented around the melding of craft-based techniques and installation art. The expansive range of mediums suggested by 鈥渃raft鈥� are often relegated to the peripheries of contemporary art; even today, the label bears about it a whiff of the domestic, the functional and the un-ideational. The artists in this show were invited to consider the possibilities of craft in a spatial sense, i.e. as objects that respond to their environment. They utilised ceramic, paper, wood and textiles, among other materials, to produce works that speak to their surroundings, whether that space is physical (the interior architecture of FOST Gallery鈥檚 site) or conceptual (the discursive space occupied by 鈥渃raft鈥� in the landscape of contemporary art). In presenting the possibilities and potential of craft practices spatially, this exhibition is an experiment in collapsing two disparate genres.
Objects include Adeline Kueh鈥檚 tapestry of fabric rosettes, glass beads, hand-made marks and LED lights, a response to the relationship to our tropical climate of moisture, mould, mildew; Bernie Pacquing鈥檚 wooden structures inspired by termite mounds and his abiding interest in the engineering of domes, and positioned in the nooks and crannies of the site, with one located at the bend between two walls and the other at the mouth of the mail slot; Tan Shao Qi鈥檚 delicate, exquisite paper cutouts, displayed in a manner designed to speak to particular facets of the gallery鈥檚 architecture, as well as her photographic prints with ceramic elements; Bea Camacho鈥檚 crocheted objects that, while retaining the texture and aura of comforting, hand-crafted wearables, assume non-utilitarian forms that allude to the ultimately futile effort to connect on an interpersonal level; Grace Tan鈥檚 panel constructed from thousands of interlocking, looped cable ties, premised on German architect Gottfried Semper鈥檚 ideas of textiles as the origin of architecture; Divaagar鈥檚 creation of a fictional craft artist, named Stitch, in a digital video interview, accompanied by an actualized instance of a work by this (nonexistent) entity; Lim Zeharn鈥檚 kinetic installation of twisted twine on a wall that moves constantly to create tiny dashes, similar to the 鈥榤arching ants鈥� effect of selection tools found in computer graphics programs, weaving together a digital tool and a physical surface; Hazel Lim鈥檚 origami paper tapestry is hung from an overhead beam in the gallery, inserting itself through a slot, mimicking how nature seeks out spatial opportunities to grow and expand even through the smallest openings.
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