Looking at the colourful shophouses that line both sides of Koon Seng Road, the first thing that struck the artist was how these contrasting colours were placed side by side, yet did not clash with each other. Instead, they created a sense of harmony and something unique altogether. The artist was inspired by these combinations to create pockets and windows of abstract spaces where people could walk across or into and be surrounded by pure colour.

Outdoors, the mural piece stands out against the highly textured views found around Katong-Joo Chiat. Installed in a walkway, the work acts as a fragmented piece spans different areas, inviting the audience to keep an open eye out for pieces of these ‘windows’ in Katong-Joo Chiat. The bright colours of the work forces viewers to break away from their day-to-day routines – to stop, slow down and enjoy the simple joys of looking.

The term ‘apocalypse’ derives from the ancient Greek word ἀποκάλυψις (apokálupsis) which means revelation, disclosure or uncovering. However, the usual association with the term bears connotations of end-of-the-world imagery, featuring events which are yet to come. In contrast, this project seeks to uncover the past and through the past, rediscover what is in store for the future.

In response to the theme of ‘Echo’, this project attempts to rediscover past murals that are hidden under layers of paint or whitewash by attempting to uncover past murals from the wall of an old building through the gentle removal of layers of paint. Just as echoes are sounds which return to us after bouncing off of other surfaces, and not sounds that originate from the surfaces themselves, the artist seeks a way to make a mural not by adding anything to the wall, but by taking away from it, looking for the ‘echoes’ of previous murals. The interplay of image and text also echoes the site specificity of the mural, with the quote, “If your dog is fat, you are not getting enough exercise” reinforcing the need for a healthy lifestyle amidst all the good food one finds in the Joo Chiat area.

As a continuation of the artist’s practice in drawing and painting to investigate the passage of time, the mural project will encourage members of the public to participate in the removal of layers of paint in accordance to a pattern outlined by the artist. At the launch of the festival, the image that has been formed by the removal of paint would occupy the top half of the wall, leaving the remaining half for the members of the public to complete throughout the course of the festival.

An abstract portrait of characters, environments and experiences morphs into a singular cell that clads a historical structure. Life moves through, constantly evolving with time whereupon the structure becomes a vessel – containing, channelling. Breathing while staying still. Recollections echoed from within, over the edges, from a distance, deep down under.

The mural combines familiar forms and patterns which overlap and generate a labyrinthine surface composition. Each layer has a distinct character where smaller structures coexist with larger patterns, creating paths, vibrating and echoing, luring the viewer into a journey of micro hard-edged abstracts.

Soph has always been fascinated by memories and emotions resonate over time and how relationships with them change when stories are retold. Both narrator and listener are often denied access to the true history as memory is easily distorted. Recollections blur and intertwine.

The artist’s approach to painting tries to encapsulate these memories, however flawed they may be. This allows viewers to reimagine and reconstruct stories, bringing new perspectives and discoveries with each piece told to them or repeated to themselves. The endless journeys of living, experiencing, learning, unlearning and thriving are constants that ought to be balanced as humanity celebrates the ambiguities and randomness of life.

This artwork takes reference from the heritage and spirit of Joo Chiat and Katong. During his walkabout around the area, the artist could not help but feel overwhelmed by the vast changes to the space. Gone were the traditional businesses that echoed a bygone era of colonial Singapore, replaced by hip cafes and trendy businesses as part of ever-evolving redevelopment efforts.

Heritage persists only vestigially, embodied by the shophouses in the area, and reminders of what came before can only be glimpsed as tidbits of information on National Heritage Board plaques. The work is not a critique of change, but an acceptance of the inevitable. The character of Joo Chiat is constituted by the colours of the row of colourful Peranakan shop houses in the area, with mere memories shoring up of the remnants of heritage and culture that created the identity of the district.

The mural along 68 Serangoon Road depicts a narrative about culture, legacy and the future — drawing inspiration from its immediate vicinity of Little India.

Sarees — and its historical importance — acts as a conduit to portray design fads and imaginings of wardrobe shopping in the future. The traditional methods of creating sarees are juxtaposed with contemporary methods, such as the use of a tablet to create patterns. Dominating the mural is its centrepiece – a substantially sized saree billowing in the breeze.

Drawing upon Mural Lingo’s versatility, the piece will contain an eclectic variety of art styles which serves as a catalyst for sparking dialogue between communies within and beyond the precinct, displaying a refreshing take on the South Indian saree culture in a cutting-edge way. Viewers will be captivated by the sight of a larger-than-life representation of South Indian history and culture.

As a parallel with the Indian Heritage Centre’s facade which is inspired by the monumental step wells of India, the artist contextualises the architecture of Baoli wells, restoring these heritage structures to their original function which is to bring water to everyone who needs it.

Alongside the introduction of modern water systems, time, weather and neglect have eroded the inverted fortresses until recently, when it was discovered that these edifices of ancient technology can help curb the water crisis worsened by climate change. Heritage and its structures are unable to exist without proper, organised human intervention — the unseen side of cultural and heritage work.

Considering India’s long struggle against dams ravaging and displacing entire communities, there has been a validating realisation that communal systems are more resilient, despite predating modern ones by more than a thousand years. This highlights the importance of learning history and old practices in order to move forward rather than relegating them to hauntology.

Lastly, the kapothka mudra juxtaposed against the geometric quality of the wells figuratively expresses gratitude to the teacher – in this case history and heritage, sustained by our forebears so the rest of us may learn about ourselves.

The Video Car series, which began in 2010, transforms a car into an interactive display for videos. The work presents an eclectic viewing experience by combining the elements of moving images with the familiarity of a common automobile.

The work is a symbolic gesture in response to the boundaries of mobility – echoing issues of the current economic climate, such as the displacement of people and places. The car is a transformative element that turns a functioning transportation tool into a functionless art object and back again.

Due to the rapid evolution of technology throughout the 21st century, every street on earth is now captured digitally. People can travel to any part of the world in a technological sense without actually packing their bags and boarding an airplane, as well as read and know everything about the history of a place without having to experience it first-hand. Anyone can learn about countries miles away, much less Singapore.

So what does ‘travelling’ mean from here, and as local artists, what can Artwave tell you about the streets of Singapore that can’t already find on the internet? What about time travelling and experiencing the histories of a street all at once?

In this artwork, listeners take a stroll through an alley while listening to sounds projected by hidden speakers throughout the space. Through this experience, they are sent on a journey through Singapore’s history and gain a deeper understanding of the echoes of Singapore’s past.

A collection of experimental works by students from the Diploma in Broadcast Media programme at LASALLE College of the Arts in Broadcast Media programme at LASALLE College of the Arts, Speaking to the Void reflects their response to the environment around them. As the world moves on from the pandemic, the adaptations that society has made ripple through. The rise of new media to express one’s self is likewise gaining popularity.

This showcase reflects on the works of the next generation of filmmakers – as we look at the works, what do the works say back to us?