This exhibition is to be experienced through the guided tour so follow the instructions below

Instructions:

1. Use your desktop if you can to enter the virtual gallery on our main page.

2. Press full screen and press play for the guided tour, use our exhibition catalogue below to accompany your guide. To go to the next guide point, press next.

3. After the tour, roam around freely and press on the video for sound or press on the images to understand the artwork.

Feel free to read through our exhibition catalogue below while waiting for the virtual gallery to load.

Kara Yong's Self-Portrait Series Through Storytelling and the Deconstruction of Her Name

In this series, Identity, An Optical Delusion, Kara weaves her personal anecdotes and the short story of The Yellow Wallpaper into her artwork as she deconstructs her Chinese name, 杨嘉仪. As a brief introduction, The Yellow Wallpaper is a short story of a woman’s descent into madness from her imprisonment in a bedroom.

In relation to the current theme of self expression, Kara's work began with this question: "How do we portray ourselves if not starting first with our name, the first representation of what our parents hoped we would become, and what society would recognize us by?"

杨, In the Shadow of Character (2020)

by Kara Yong / Lukisan Kabut

Digital Mixed Media ; A3 297 x 420mm

This is the first piece of artwork from Kara's series.

In The Yellow Wallpaper, the protagonist sees the shadow of a woman creeping behind the wallpaper in her bedroom. It is later revealed to be a manifestation of the protagonist’s psychosis and that the protagonist herself is the woman who was trapped.

Kara's first artwork showcases the Chinese character 杨, a popular surname in China with a rich history. Being given the birthright to carry on a legacy meant that you were expected to live up to your peers’ expectations as a member of the family. The artist grew up hiding a lot of characteristics to preserve a reputation, akin to the shadow of many personalities creeping behind the strokes of a single Chinese character. She believes that conformity helps to avoid disappointment and misunderstanding and she ends up trapping herself behind a façade of perfectionism.

嘉 , Taboo against Beauty (2020)

by Kara Yong / Lukisan Kabut

Digital Mixed Media ; A3 297 x 420mm

This is Kara's second artwork from her series.

In The Yellow Wallpaper, the protagonist is always gazing out into the garden wanting to be outside, but was told to stay in and rest for her own good. She complains that her husband John, who is also her doctor, belittles both her illness and her thoughts and concerns in general. Her treatment requires that she do almost nothing active, and she is especially forbidden from working and writing.

Kara asks "Have you ever questioned your mother on what she hoped for when she named you?" Her mother thought of classical elegance, 嘉, a refined beauty to be her princess. But instead, she gave birth to a rebel. Drawing parallels from the story, Kara expounds, "Many girls were told to stay home and be good girls, learning the path of superficial beauty instead of discovering the beauty in embracing their own identities."

仪 , the Yin and Yang of Appearances (2020)

by Kara Yong / Lukisan Kabut

Digital Mixed Media ; A3 297 x 420mm

This is the last piece of artwork on Kara's Series. In The Yellow Wallpaper, the protagonist’s obsession with the wallpaper grew, but her husband mistook her fixation for tranquility and believed that she was improving. Eventually, it is revealed that she was no longer the same woman from the beginning of the story, and has been driven insane while unperceived by her peers.

Kara puts forward in her artwork that, "仪 signifies appearance and attitude, where we are sometimes imprisoned by what we choose to show to society. But the truth is some of us are in shambles, living in self destruction, showing a yin and yang of opposites in appearance."

In his 'Indigo Phase' Series, Kentaro Yokouchi Weaves Intersecting Cultural Identities With Satin And Indigo

Kentaro Yokouchi is born in Chiba, Japan and based long-term in Yogyakarta, Indonesia. He is currently based in Netherlands. In creating this series, Yokouchi finds traces of intersecting cultures by creating intricate paintings using crafted materials such as satin-weave silk and a natural indigo dyeing.

He addresses various historiographical aspects in relation to natural materials, especially the interaction of Japanese, Indonesian and Dutch cultures concerning its production, use and commercialization. He marries Eastern art and Western art in this series and seeks to explore historical criticisms and a unique visual expression that are woven together like textiles, orientalism and the elements of cultural diversity.

The following artistic description in each painting is in Yokouchi's own unedited words.

Human Behaviour gs (2020)

by Kentaro Yokouchi

Natural indigo paste, sugar cane and tempera on paper; 75 x 55 cm

At the mercy of the irresistible, we are there, displaced. Touching someone's memory.

Human Behaviour pal (2020)

by Kentaro Yokouchi

Natural indigo paste, sugar cane and tempera on paper; 75 x 55 cm

The act of following the traces of forced crops, tobacco, sugar cane, indigo.

Human Behaviour bd (2020)

by Kentaro Yokouchi

Natural indigo paste, sugar cane and tempera on paper; 75 x 55 cm

Faith, physical traces, labor, in-between states.

Human Behaviour ch (2020)

by Kentaro Yokouchi

Natural indigo paste, sugar cane and tempera on paper; 75 x 55 cm

The plague of people by people, their children.

Liflatul Muhtaroom Goes Back To The Beginning In His Surrealist Artwork, Kembali Ke Dalam

Liflatul Muhtaroom views art as entertainment, a tool to control one’s personal life and a study on our social and geo-political climate. His philosophy towards art is that it can be used to learn about moderation, critique and our history which excites and shocks us.

In this portrait, he uses symbols with multilayered meanings to represent the context he seeks to criticise and introspect. Combining his exploration into motherhood and the mystery of the cosmos, Liflatul creates a portrait focusing on self-discovery outside of our individual selves.

Kembali Ke Dalam (2020)

by Liflatul Muhtaroom

Arcrylic on canvas; 60 x 50 cm

This portrait is inspired by the beginning point of our identities, the mother's womb. Liflatul believes that to return to our roots in our self-discovery, we have to return to the journey where everything first originates. 'Kembali Ke Dalam' translated from Indonesian to English means 'Return Inside'.

Therefore, the “self” has a more intimate meaning outside of ourselves. He wishes to express this through the symbol of motherhood and other symbols. Intrigued by the cosmos, he also compares the unknown of the universe with our self-discovery journey -- full of riddles and mystery.

A Spiritual Journey on Creation, Reflection and Introspection with Adam Ummar


Adam's portrait is inspired by Jungian psychology, tarot and astrology. The title of this piece “Bayangan Ahli Silap Nujum”, is translated and interpreted as 'the shadow of the wizard'. A self-portrait that is rife in symbolism that follows in the heritage of tarot, astrology and the mystical tradition, Adam perceives himself as a magician of sorts, equipped with a paintbrush as his wand and his art as a form of arcane magic.


Referencing Carl Jung's studies of mysticism and the theory of the unconscious mind, the idea for this self-portrait came in Adam's dream and he quickly sketched out the rough ideas after being awoken from a hallucinatory dream. He dreamt of doors being closed and opened, leading to other realities, worlds and dimensions.

Bayangan Ahli Silap Nujum (2020)

by Adam Ummar / Univorso

Mixed Media ; 54 x 37.5cm


Adam's inspiration began with the tarot card, 'The Magician', which is also card number one in the Major Arcana. The Major Arcana card symbolizes the major themes in a person’s life. Following the resemblances of a Capricorn, an animal with the head of a goat and the tail of a fish, the figure sports the horns of a goat and a sarong. Utilizing this as the main focus in his piece, Adam draws parallels between the figure and his astrology sign, the Capricorn.


Packed with astrology references, the symbols on the torso represent the planet Saturn -- Capricorn's ruling planet, the Earth element and the Capricorn sign respectively. The symbols on both sleeves are Adam's moon and rising signs, the Leo. Calculating from a natal chart, the Sun, Moon and rising signs represent the main rulers of an individual’s personality that can be understood as who you are, who you are on the inside and how you appear to others -- a similar reflection of the persona, the shadow and the ego in Jungian psychology.


Adam combines the four elements: fire, earth, air and water with the Rider-Waite tarot deck Magician card's 4 objects: a wand, a pentacle, a goblet and sword. Each elements represent the four areas of a human’s life, emotions/love (water), material/earthly riches(earth), intellect & suffering (air) and action/energy (fire). In tarot, the Magician is perceived as the controller of the four elements. By learning and mastering the four elements, one can become a magician and alter the shape and course of one’s world, internal and external. This succinctly reflects Adam's own mastery process of creativity and intuition. Adam asserts the significance of the Magician's role and symbol in his creative process and self-perception, "And by knowing my art, through the art of the world, I let go and am in full control of my life, world and universe."

Co-existing Between Two Worlds With Jun Kitazawa's 'DUAL WINDOW'

DUAL WINDOW is a prototype of Jun Kitazawa's ongoing project where he builds life-sized windows of the same design. Having seen exclusively only by a few people, Jun reveals this series and the prototypes of his project for the first time in this exhibition.

Having built his life and art practice in Yogyakarta, Tokyo-born Jun Kitazawa closely ties his identity with the co-existence between the two distinctive cultures he lives in-- Indonesian and Japanese. DUAL WINDOW represents the fusion of Japanese and Indonesian culture within Jun.

DUAL WINDOW takes the landscapes and decorations of the two countries and mingles them into a piece. Jun paints the landscape seen from both Japan and Indonesia on window glass, overlapping them. The dual landscape in this window is the imagined landscape of Jun's life between the two countries, and is a part of the image of the society that he is actually trying to establish.

The different frame designs of both cultures act as motifs, and come together around the window to create an entirely new frame. Combining the landscapes of the glass and the designs of the frames, the work transcends geological location and culture to create one overlapping dual window. This piece will be created together with the owner of the house, and completed by installing it into the home or building. If windows connect us to the outside world, DUAL WINDOW encourages us to imagine the world that remains unseen. The following statement is in the artist's own unedited words:


"I used to spend such a long time gazing out from inside my house.

The windows are frames for the world to me.

As I gaze out through the window, I remember my life in a far-off country.

The distant roads of my memory overlap with the landscape before my eyes.

I choose to recreate this overlapped memory on the face of a window.

I will furnish the window’s frame with multiple views from where I’ve been residing.

The dual window will not only connect the interior to the exterior.

And it will not only be a window atop your desk that connects you with someone somewhere else on Earth.

It is a piece of art that exists in our day to day life, it calls forth a dual identity that is neither and nowhere.

The drawn-on landscapes will fade and disappear.

By then, the dual landscape will become one –together with the reality beyond the glass."


Prototype of DUAL WINDOW Japan-Indonesia #1 (2020)

by Jun Kitazawa

3D prototype; 82 x 114.5 x 12 cm

Prototype of DUAL WINDOW Japan-Indonesia #2 (2020)

by Jun Kitazawa

3D prototype; 180 x 140 x 8 cm

Prototype of DUAL WINDOW Japan-Indonesia #3 (2020)

by Jun Kitazawa

3D prototype; 180 x 160 x 8 cm

Prototype of DUAL WINDOW Japan-Indonesia #4 (2020)

by Jun Kitazawa

3D prototype; 100 x 55 x 10 cm

Prototype of DUAL WINDOW Japan-Indonesia #5 (2020)

by Jun Kitazawa

3D prototype; 60 x 90 x 10 cm


Andita Purnama Sari Putri's Tribute To Women In Her Sorrowful Serenade, 'Clouds Number 11'

Collaborating with Hotma Parulian Batubara, Andita created an art piece by performing her own rendition of Heart's 'Alone'. In this art piece, Andita sorrowfully laments over how society conceals women and controls our self-perception towards women -- shedding light on how difficult it is for women to form their own self-identities.

Head to our virtual gallery to watch Andita's performance piece or watch here.

Clouds Number 11

by Andita Purnama Sari Putri

Video Performance Art


In Andita’s performance, she embodied a recurring character from her previous Performance, ‘PseudoCode;DarkMatterSpace’ from 2019. The name of the character is “Clouds”. In this exhibition, she seeks to shed light on a woman’s difficulties in forming her self-identity. The fridge acts as one of the main symbols of domesticity. The cold and harsh light emitting from the fridge also represents the cold and disappointing domesticated space a woman is often forced into. In her performance, Andita chose a dragonfruit to be eaten by Clouds to symbolise a heart, which is a metaphor for love, purity and chastity – society depicts these as a woman’s “prized possession”.

Through her own rendition of Heart’s pop ballad, “Alone”, she depicts how disconnected she feels from society because of the cold and harsh standards a woman must face to fit into society’s mold of a “perfect woman”. She writes that women are often faced with socially constructed standards and societal pressure in the formation of their own identities and autonomy, such as facing criticisms on beauty standards and their personal choice and freedom to marry.

CC Kua Moulds Her Portrait In the Animation, 'I Sculpt Myself'

In this exhibition, CC Kua departs from painting and exhibited a light-hearted animation, 'I Sculpt Myself'. The artistic description in the following video stills are in the artist's own unedited words.

Head to our virtual gallery to watch CC's animation or watch here.

I Sculpt Myself (2020)

by CC Kua

Video Animation


I intend to sculpt a realistic self portrait,

I look at my own photo,

I sculpt sculpt sculpt and sculpt

omg

I sculpt sculpt sculpt and sculpt

omg omg

I look like my clay instead.

Fill In The Blanks With ANJU's Series, 'THIS IS ______' and 'I Am Not Really Sure Who I Am Anymore'

ANJU's two-part series paints a picture on the ever-changing and turbulent emotions we confront in constructing our identity. In her first series, This Is _____, ANJU expresses her frustration in feeling a disconnect between her body and senses. In her own words, she writes, "There is a numbness happening on the surface. Sometimes I am unsure if I am dissociating or trying to put everything into perspective to understand everything. Maybe it’s happening at the same time."

In her second series, 'I Am Not Really Sure Who I Am Anymore', she expresses her liberation by accepting the disconnect she feels from the first series. In her own words, she writes, "Even though I am not entirely comfortable with myself, this is me existing truthfully. Maybe I can be so many other things, a better person perhaps, but right now I am just my body. I do know that through this struggle, I will find an understanding of myself, but right now this is me."

Each artwork must be seen in totality as it forms the entire message of the series. Please head to the virtual gallery to view the entire artwork.

MATA (2020)

by ANJU

Mixed Media; 28.3 x 21 cm

MATAA (2020)

by ANJU

Mixed Media; 28.3 x 21 cm

HIDUNG (2020)

by ANJU

Mixed Media; 28.3 x 21 cm

MULUT (2020)

by ANJU

Mixed Media; 28.3 x 21 cm

TELINGA (2020)

by ANJU

Mixed Media; 28.3 x 21 cm

TELINGAA (2020)

by ANJU

Mixed Media; 28.3 x 21 cm

I Am Not Really Sure Who I Am Anymore (2020)

by ANJU

Mixed Media; 28.3 x 21 cm

A 4 Weeks Journey During The Pandemic with Daisuke Takeya in 'Solitude Standing'

Solitude Standing is a brand new performative artwork created and recorded in Toronto, Canada in December 2020 to January 2021, consisting of four chapters -- 'Leave Me Alone !' , 'The Forest' , 'Solitude Standing' and 'Never Leave Me Alone!' .

Each chapter is performed time-wise in parallel with the ongoing art exhibition and the performance represents the artist’s inner struggles under the current pandemic situation. Except for the first chapter that is made in 2020, all chapters are made in 2021. This means that each chapter will be uploaded weekly in 2021 as the exhibition goes on, so viewers are encouraged to revisit the exhibition to watch the completion of the artwork.

Schedule for Solitude Standing (2020-2021)

Leave Me Alone! (2020) - 3 January 2021

The Forest (2021) - 10 January 2021

Solitude Standing (2021) - 17 January 2021

Never Leave Me Alone! (2021) - 24 January 2021

Each artwork will then be explained in detail in completion nearing the end of the exhibition. The following are stills from the video.

Leave Me Alone! (2020)

by Daisuke Takeya

Video Performance Art

This is the first video performance piece from Daisuke Takeya's series, Solitude Standing. Each artwork will be explained in detail in completion nearing the end of the exhibition.

Head to our virtual gallery to watch Daisuke's performance piece or watch here.

The Forest (2021)

by Daisuke Takeya

Video Performance Art

This is the second video performance piece from Daisuke Takeya's series, Solitude Standing. Each artwork will be explained in detail in completion nearing the end of the exhibition.

Head to our virtual gallery to watch Daisuke's performance piece or watch here.

Solitude Standing (2021)

by Daisuke Takeya

Video Performance Art

This is the third video performance piece from Daisuke Takeya's series, Solitude Standing. Each artwork will be explained in detail in completion nearing the end of the exhibition.

Head to our virtual gallery to watch Daisuke's performance piece or watch here.

Never Leave Me Alone! (2021)

by Daisuke Takeya

Video Performance Art

This is the final video performance piece from Daisuke Takeya's series, Solitude Standing. Each artwork will be explained in detail in completion nearing the end of the exhibition.

Head to our virtual gallery to watch Daisuke's performance piece or watch here.

Dive Into the Art of Rewriting the Past with Mineki Murata's Performance Piece

In this intimate and raw performance piece, Mineki Murata rewrites his identity and urges us to re-assess our self-perception by controlling the narrative, even if it means self-destruction to start anew. Here, he destroys any semblance of his past self and shows us his process of reborn. The following are stills from the video.

Head to our virtual gallery to watch Mineki's performance piece or watch here.

Update 17.12.2020 (2020)

by Mineki Murata

Video Performance Art

As a way of expressing himself, Mineki Murata had two friends to film an interview. He urges the viewers to look at him objectively. In the interview, he finds himself unfamiliar with his appearance, his voice, the way he talks and the way he thinks. He tells us that he hates himself in the near past. To overcome this self-loathing, he rewrites himself with his hands.

He expounds, "The destruction of self is the renewal to a new self. Are they actually self-destructing? I don't know, but I'm going one step forward."

Explore Your Internet-Self With Jessica Tanto's Playful Personality Quiz

Combining her background in Psychology with her art practice, Jessica Tanto's interactive artwork seeks to explore a very topical area in our everyday interaction and self-perception.

As the pandemic stretches over us, we become increasingly dependent on our online interactions. In a witty and tongue-in-cheek fashion, Tanto's artwork interacts with the viewers in discovering how our Internet speed and online interaction impact our identities.

To experience the artwork, please scan the QR code! Alternatively, you can click here.

Free! Personality-Reading Service (2020)

by Jessica Tanto

Interactive Performance Art

Tanto echoes in agreement with the idea: ‘Self-portraits are both honest and dishonest’ as presented in this exhibition. In exploring this issue, she reflects upon mistranslations between the way we perceive ourselves and how others perceive us, specifically through bad internet connection. Because of this reliance on online interactions during the pandemic, poor internet connection equals to poor human connection! This poor internet and human connection form the very foundation of our perception towards each other, and consequently, forming our own identities.

Hence, this artwork explores the way our new online form of social interactions influences the way we construct ‘portraits’ of one another. After all, self-portraits are always mediated by social interactions and therefore forms a big part of our identities.