TE1: Woodlands North
New Departures
by Amanda Heng
Crossing borders is an essential part of our lives that enables us to encounter new possibilities.
The artist invites individuals to share their experiences doing exactly that. Their stories are placed in the wide-open sky where there are no boundaries. Through this work, the artist seeks to understand how individuals address the conflicting desires of staying within their comfort zones, while fulfilling the need to widen their horizons.
Montage of skyline comprises photos taken between 2015 and 2018.
TE1: Woodlands North
New Departures
by Amanda Heng
Crossing borders is an essential part of our lives that enables us to encounter new possibilities.
The artist invites individuals to share their experiences doing exactly that. Their stories are placed in the wide-open sky where there are no boundaries. Through this work, the artist seeks to understand how individuals address the conflicting desires of staying within their comfort zones, while fulfilling the need to widen their horizons.
Montage of skyline comprises photos taken between 2015 and 2018.
TE2: Woodlands
The Day’s Thoughts of a Homespun Journey into Night
by Terence Lin
Just as home is a solace for us to dream comfortably, these transport forms feature cosy fabric patterns that inspire us to experience home, even as we travel around. Like a tapestry of the intertwining routes that we take, the vehicle drivers’ state of mind and thoughts are “projected” from the headlights into thought bubbles,
Through this artwork, commuters are offered new insights about the surroundings along the travelling routes we take, day and night.
TE2: Woodlands
The Day’s Thoughts of a Homespun Journey into Night
by Terence Lin
Just as home is a solace for us to dream comfortably, these transport forms feature cosy fabric patterns that inspire us to experience home, even as we travel around. Like a tapestry of the intertwining routes that we take, the vehicle drivers’ state of mind and thoughts are “projected” from the headlights into thought bubbles,
Through this artwork, commuters are offered new insights about the surroundings along the travelling routes we take, day and night.
TE3: Woodlands South
3652 x 50
by Kng Mian Tze
3652 x 50 is a time capsule containing 50 promises made by participants who live, work or study around the Woodlands South station. These promises are made to themselves about what they intend to achieve in 10 years’ time. The project began in 2013 in anticipation that by the time the station opened, the participants would have entered different chapters of their lives. The daily commute may be seen as merely getting from point A to B, but it can also be a journey of life in which we can choose how we want it to unfold.
TE3: Woodlands South
3652 x 50
by Kng Mian Tze
3652 x 50 is a time capsule containing 50 promises made by participants who live, work or study around the Woodlands South station. These promises are made to themselves about what they intend to achieve in 10 years’ time. The project began in 2013 in anticipation that by the time the station opened, the participants would have entered different chapters of their lives. The daily commute may be seen as merely getting from point A to B, but it can also be a journey of life in which we can choose how we want it to unfold.
TE4: Springleaf
Tree of Memories
by Koh Hong Teng
The main feature of the artwork is the banyan tree, juxtaposed with buildings, imaginatively interpreted characters and artefacts taken from the unique blend of nostalgic shophouses and lush greenery around Springleaf estate. This makes the artwork a study of the integration of the place, people, nature and the spatial connection between them. The artwork is a whimsical composition that invites the busy commuter to wander into a familiar yet enchanted, magical world amidst their transit.
TE4: Springleaf
Tree of Memories
by Koh Hong Teng
The main feature of the artwork is the banyan tree, juxtaposed with buildings, imaginatively interpreted characters and artefacts taken from the unique blend of nostalgic shophouses and lush greenery around Springleaf estate. This makes the artwork a study of the integration of the place, people, nature and the spatial connection between them. The artwork is a whimsical composition that invites the busy commuter to wander into a familiar yet enchanted, magical world amidst their transit.
TE5: Lentor
Interlude for Lentor
by Tan Guo-Liang
‘Interlude for Lentor’ takes its inspiration from the area around the station, and in particular, Teachers’ Estate where the roads are named after famous poets and philosophers. Inspired by the meaning and the location, the artist created a visual score that resembles musical notations and calligraphic scripts.
Commuters are invited to read the visual score as they traverse the station, to enjoy an interlude amidst their busy day.
TE5: Lentor
Interlude for Lentor
by Tan Guo-Liang
‘Interlude for Lentor’ takes its inspiration from the area around the station, and in particular, Teachers’ Estate where the roads are named after famous poets and philosophers. Inspired by the meaning and the location, the artist created a visual score that resembles musical notations and calligraphic scripts.
Commuters are invited to read the visual score as they traverse the station, to enjoy an interlude amidst their busy day.
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TE6: Mayflower
Bird Sculptures
by Song-Ming Ang
This series of 22 bird sculptures is inspired by the thriving songbird watching community in the neighbourhood. Ang’s bird sculptures are scattered throughout the seven station entrances and train platform, portraying that the birds have found their way into the station by accident.
The seven species represented in Ang’s sculptures are the most common birds kept as pets in Singapore and Southeast Asia. They include the oriental white-eye, red-whiskered bulbul, zebra dove, laughing thrush, white-rumped shama, yellow canary and blue flycatcher.
TE6: Mayflower
Bird Sculptures
by Song-Ming Ang
This series of 22 bird sculptures is inspired by the thriving songbird watching community in the neighbourhood. Ang’s bird sculptures are scattered throughout the seven station entrances and train platform, portraying that the birds have found their way into the station by accident.
The seven species represented in Ang’s sculptures are the most common birds kept as pets in Singapore and Southeast Asia. They include the oriental white-eye, red-whiskered bulbul, zebra dove, laughing thrush, white-rumped shama, yellow canary and blue flycatcher.
TE7: Bright Hill
A Kaleidoscopic Nature
by anGie seah
anGie’s art is influenced by her childhood memories of growing up in Bright Hill, playing around the neighbourhood and the nearby Bishan Park which became the main form of the artwork.
In line with the nature inspired station design, the artwork features microscopic details of forms, colours, lines and networks of plants found in Bishan Park. These reflects the bonds developed within the communities like the network found in nature.
The artwork also features motifs of “reflections” on the floor which together with the bright artwork on the lift shaft, depict the idea of light and shadow from Bright Hill.
TE7: Bright Hill
A Kaleidoscopic Nature
by anGie seah
anGie’s art is influenced by her childhood memories of growing up in Bright Hill, playing around the neighbourhood and the nearby Bishan Park which became the main form of the artwork.
In line with the nature inspired station design, the artwork features microscopic details of forms, colours, lines and networks of plants found in Bishan Park. These reflects the bonds developed within the communities like the network found in nature.
The artwork also features motifs of “reflections” on the floor which together with the bright artwork on the lift shaft, depict the idea of light and shadow from Bright Hill.
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TE8: Upper Thomson
Lost In Our (Concrete) Jungle
by Troy Chin
With the largest nature reserve on the island just a short distance away, this neighbourhood is no stranger to curious visitors from all walks of life. Sometimes, these include the indigenous residents of the long-tailed variety. And it seems like a number of them have gotten lost in this station. Could you spare some time to show these macaques the way home if you happen to find them? They would greatly appreciate it!
TE8: Upper Thomson
Lost In Our (Concrete) Jungle
by Troy Chin
With the largest nature reserve on the island just a short distance away, this neighbourhood is no stranger to curious visitors from all walks of life. Sometimes, these include the indigenous residents of the long-tailed variety. And it seems like a number of them have gotten lost in this station. Could you spare some time to show these macaques the way home if you happen to find them? They would greatly appreciate it!
TE9: Caldecott
: ) ( :
by Claire Lim
‘:) (:’ transforms the station’s walls into a screen which greets us by saying HELLO :) when we arrive and depart. The station walls appear to be grinning at us, presenting a static performance of dancing strings with smileys. They absorb murmurs through the station’s acoustic panels, while emitting a silent message for artwork audiences or simply passengers.
The artwork transforms the daily commuters into fascinating characters as they transit to and from the station; carrying flows of energy and giving meaning to the station.
TE9: Caldecott
: ) ( :
by Claire Lim
‘:) (:’ transforms the station’s walls into a screen which greets us by saying HELLO :) when we arrive and depart. The station walls appear to be grinning at us, presenting a static performance of dancing strings with smileys. They absorb murmurs through the station’s acoustic panels, while emitting a silent message for artwork audiences or simply passengers.
The artwork transforms the daily commuters into fascinating characters as they transit to and from the station; carrying flows of energy and giving meaning to the station.
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TE11: Stevens
A Syllabus For Stevens
by Shubigi Rao
‘A Syllabus for Stevens’ is inspired by the station’s proximity to several schools as well as the artist’s love of books and wordplay.
Together with students from Raffles Girls’ School which used to be located nearby, Rao generated a book list in 2015 of whimsical, funny, and wishful subjects for the artwork, featuring subject titles students wish were taught in schools. Mimicking long library-like shelves of books, ‘A Syllabus for Stevens’ showcases solid ‘book spines’ with engraved titles that allude to unheard-of branches of knowledge. The book spines are overlaid with limestone chalk, such that the materials (chalk on slate) are another pun about education.
The artwork captures the brief, youthful irreverence of schoolgirls, permanently engraved with the gravitas of a stone library.
TE11: Stevens
A Syllabus For Stevens
by Shubigi Rao
‘A Syllabus for Stevens’ is inspired by the station’s proximity to several schools as well as the artist’s love of books and wordplay.
Together with students from Raffles Girls’ School which used to be located nearby, Rao generated a book list in 2015 of whimsical, funny, and wishful subjects for the artwork, featuring subject titles students wish were taught in schools. Mimicking long library-like shelves of books, ‘A Syllabus for Stevens’ showcases solid ‘book spines’ with engraved titles that allude to unheard-of branches of knowledge. The book spines are overlaid with limestone chalk, such that the materials (chalk on slate) are another pun about education.
The artwork captures the brief, youthful irreverence of schoolgirls, permanently engraved with the gravitas of a stone library.
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TE12: Napier
Botanical Art
by National Parks Board
With Napier station located next to Singapore Botanic Gardens—a UNESCO World Heritage Site managed by the National Parks Board (NParks)—this artwork is a tapestry of the Gardens’ rich collections of botanical paintings, which were originally used for research and education.
The pieces are adapted from late 19th and early 20th century paintings by the artists James and Charles de Alwis. The de Alwis brothers were born into a family of artists in Sri Lanka and were recruited to work as botanical artists in the Gardens by Henry Nicholas Ridley (Director of the Gardens from 1888 to 1912).
The paintings were selected by Christina Soh (former librarian at the Gardens), and digitally enhanced and composed by NParks' resident designer, Lim Yn Sheao. Originals of the paintings from the Gardens' collections can be viewed at the Botanical Art Gallery in the Gardens' Gallop Extension.
TE12: Napier
Botanical Art
by National Parks Board
With Napier station located next to Singapore Botanic Gardens—a UNESCO World Heritage Site managed by the National Parks Board (NParks)—this artwork is a tapestry of the Gardens’ rich collections of botanical paintings, which were originally used for research and education.
The pieces are adapted from late 19th and early 20th century paintings by the artists James and Charles de Alwis. The de Alwis brothers were born into a family of artists in Sri Lanka and were recruited to work as botanical artists in the Gardens by Henry Nicholas Ridley (Director of the Gardens from 1888 to 1912).
The paintings were selected by Christina Soh (former librarian at the Gardens), and digitally enhanced and composed by NParks' resident designer, Lim Yn Sheao. Originals of the paintings from the Gardens' collections can be viewed at the Botanical Art Gallery in the Gardens' Gallop Extension.
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TE13: Orchard Boulevard
PULSE
by Twardzik Ching Chor Leng
This artwork features a network of industrial scale pipes interposed with gleaming and colourful entry and exit points.
'PULSE' is a self-contained system that depicts the flow of resources and people (commuters) transferred daily across our urban environment, through infrastructure such as the Mass Rapid Transit (MRT) system.
The artwork looms as a visual metaphor reflecting on these vital systems like transporting vital nutrients and oxygen, pulsating to keep our body/city alive.
TE13: Orchard Boulevard
PULSE
by Twardzik Ching Chor Leng
This artwork features a network of industrial scale pipes interposed with gleaming and colourful entry and exit points.
'PULSE' is a self-contained system that depicts the flow of resources and people (commuters) transferred daily across our urban environment, through infrastructure such as the Mass Rapid Transit (MRT) system.
The artwork looms as a visual metaphor reflecting on these vital systems like transporting vital nutrients and oxygen, pulsating to keep our body/city alive.
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TE14: Orchard
Scotts Road / Orchard Road from ION Sky
by Mintio
Encounter the lights of Orchard Road as you emerge from Orchard station.
This artwork captures the night lights taken from the vantage point of ION Sky, as a form of cartography (map-making) as well as mark-making. The length of an entire roll of film was used to trace the area as one seamless image, unlike typical frame-by-frame photography. With a panoramic camera and medium format photographic film, the lights were captured layer by layer, with multiple exposures. These render the bird’s-eye view of Orchard Road into abstraction, as if one is looking into the night sky, gazing at the stars.
TE14: Orchard
Scotts Road / Orchard Road from ION Sky
by Mintio
Encounter the lights of Orchard Road as you emerge from Orchard station.
This artwork captures the night lights taken from the vantage point of ION Sky, as a form of cartography (map-making) as well as mark-making. The length of an entire roll of film was used to trace the area as one seamless image, unlike typical frame-by-frame photography. With a panoramic camera and medium format photographic film, the lights were captured layer by layer, with multiple exposures. These render the bird’s-eye view of Orchard Road into abstraction, as if one is looking into the night sky, gazing at the stars.
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TE15: Great World
Great World, Great Times
by Deanna Ng
Advertisements reveal signs of their times. Looking at them takes us back to a different time and space.
‘Great World, Great Times’ was inspired by the artist’s parents’ wedding photo taken near Great World in the 1970s’. Each photograph is based on an old advertisement but re-enacted with present day participants, and features choral singers, sports wrestlers, an opera performer and a film curator. Viewers are invited to accompany them on this evocative rumination of what the past used to be and what the future might hold.
Logo of Shaw Brothers, Sky, Atlantic and Globe Theatres and movie poster of Penarek Beca are reproduced with courtesy from The Shaw Organisation.
TE15: Great World
Great World, Great Times
by Deanna Ng
Advertisements reveal signs of their times. Looking at them takes us back to a different time and space.
‘Great World, Great Times’ was inspired by the artist’s parents’ wedding photo taken near Great World in the 1970s’. Each photograph is based on an old advertisement but re-enacted with present day participants, and features choral singers, sports wrestlers, an opera performer and a film curator. Viewers are invited to accompany them on this evocative rumination of what the past used to be and what the future might hold.
Logo of Shaw Brothers, Sky, Atlantic and Globe Theatres and movie poster of Penarek Beca are reproduced with courtesy from The Shaw Organisation.
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TE16: Havelock
Havelock Traces
by Anonymous
‘Havelock Traces’ attempts to recreate the pre-independence buildings of the Havelock precinct. The artwork sheds light on the history of the area, the community that used to exist there, and the impact of urban renewal.
Archival drawings of the ‘lost’ buildings of Havelock Road offer a glimpse into town planning in pre-independence Singapore and how it affected the way we lived and worked. As commuters enter the station from the different entrances, they will encounter fragments of buildings and structures that reveal a glimpse into the past.
Archival drawings courtesy of Building Control Division collection, National Archives of Singapore.
Archival drawings have been modified for the purpose of creating the artwork.
TE16: Havelock
Havelock Traces
by Anonymous
‘Havelock Traces’ attempts to recreate the pre-independence buildings of the Havelock precinct. The artwork sheds light on the history of the area, the community that used to exist there, and the impact of urban renewal.
Archival drawings of the ‘lost’ buildings of Havelock Road offer a glimpse into town planning in pre-independence Singapore and how it affected the way we lived and worked. As commuters enter the station from the different entrances, they will encounter fragments of buildings and structures that reveal a glimpse into the past.
Archival drawings courtesy of Building Control Division collection, National Archives of Singapore. Archival drawings have been modified for the purpose of creating the artwork.
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TE17: Outram Park
mata-mata
by Hafiz Osman
"Mata" means eye in Malay, and 'mata-mata' refers to a policeman. Both terms inspired this community-generated visual map of the area around Outram Park station, which includes the Police Cantonment Complex located nearby. Members of the public were invited to contribute photos of objects in the neighbourhood. The photos were then jointly converted by the contributors and the artist into drawings. The result is a celebration of the different things that make up this community space beyond just geography. What do we see and remember, and how do we connect them to each other?
TE17: Outram Park
mata-mata
by Hafiz Osman
"Mata" means eye in Malay, and 'mata-mata' refers to a policeman. Both terms inspired this community-generated visual map of the area around Outram Park station, which includes the Police Cantonment Complex located nearby. Members of the public were invited to contribute photos of objects in the neighbourhood. The photos were then jointly converted by the contributors and the artist into drawings. The result is a celebration of the different things that make up this community space beyond just geography. What do we see and remember, and how do we connect them to each other?
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TE18: Maxwell
Old Chinatown In New Maxwell Life
by Justin Lee
Inspired by his upbringing in the Chinatown-Maxwell area, the artist hopes to create a series of artworks based on public buildings, people and the rich culture and heritage of Singapore. It is a journey into how Singaporeans ate, played and dressed in the past, with icons such as a hawker food street, light-bulbs, Samsui women, clouds and a popular Chinese quote about food consumption in everyday life.
TE18: Maxwell
Old Chinatown In New Maxwell Life
by Justin Lee
Inspired by his upbringing in the Chinatown-Maxwell area, the artist hopes to create a series of artworks based on public buildings, people and the rich culture and heritage of Singapore. It is a journey into how Singaporeans ate, played and dressed in the past, with icons such as a hawker food street, light-bulbs, Samsui women, clouds and a popular Chinese quote about food consumption in everyday life.
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TE19: Shenton Way
Everyday Singapore 每日所见
by Quek Kiat Sing
Shenton Way is the financial hub of Singapore. The artwork juxtaposes the daily activities of the people here with our old currencies. People looking up at the Foreign Exchange Index are likened to bird watchers in the park. The Lau Pa Sat lunch crowd is a daily scene depicted too. People queuing at the ATM and ticket machines can see themselves mirrored in the murals, along with a humorous take on lunchtime joggers who are seen ‘running' after a banknote (junk boat series).
Many of the models in the paintings are the artist’s own family and friends. Where art imitates life, 'Everyday Singapore每日所见' is a reflection of ourselves.
TE19: Shenton Way
Everyday Singapore 每日所见
by Quek Kiat Sing
Shenton Way is the financial hub of Singapore. The artwork juxtaposes the daily activities of the people here with our old currencies. People looking up at the Foreign Exchange Index are likened to bird watchers in the park. The Lau Pa Sat lunch crowd is a daily scene depicted too. People queuing at the ATM and ticket machines can see themselves mirrored in the murals, along with a humorous take on lunchtime joggers who are seen ‘running' after a banknote (junk boat series).
Many of the models in the paintings are the artist’s own family and friends. Where art imitates life, 'Everyday Singapore每日所见' is a reflection of ourselves.
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TE20: Marina Bay
Walking Into The Interstitial
by Tang Ling Nah
Taking the form of trompe l’œil murals, the artwork draws attention to everyday spaces easily missed by commuters on the go. It also bridges the old Central Business District (CBD) and the new financial centre in Marina Bay, where this station is located.
The artist created original charcoal drawings which were then scanned and printed onto vitreous enamel panels. The artwork takes reference from the stairways, doors, windows and interstitial spaces, such as alleys and corridors, found in areas like Cecil Street, Raffles Place and Shenton Way in the old CBD. The old CBD is transposed into the new financial centre, creating uncanny moments of ‘unfamiliar’ familiarity and invoking memories of an ever-changing city.
TE20: Marina Bay
Walking Into The Interstitial
by Tang Ling Nah
Taking the form of trompe l’œil murals, the artwork draws attention to everyday spaces easily missed by commuters on the go. It also bridges the old Central Business District (CBD) and the new financial centre in Marina Bay, where this station is located.
The artist created original charcoal drawings which were then scanned and printed onto vitreous enamel panels. The artwork takes reference from the stairways, doors, windows and interstitial spaces, such as alleys and corridors, found in areas like Cecil Street, Raffles Place and Shenton Way in the old CBD. The old CBD is transposed into the new financial centre, creating uncanny moments of ‘unfamiliar’ familiarity and invoking memories of an ever-changing city.
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TE22: Gardens by the Bay
Planting Shadows
by Vertical Submarine
This artwork is a further exploration of the artists’ interest in botany, and linking it to visual language and history. Shadows of tropical plants are used as furtive images to echo the presence and absence of nature in our urban environment.
’Planting Shadows’ was adapted from botanical drawings produced during the colonial era, to trace the past to present landmark of Gardens by the Bay, where we see the cultivation and celebration of nature.
TE22: Gardens by the Bay
Planting Shadows
by Vertical Submarine
This artwork is a further exploration of the artists’ interest in botany, and linking it to visual language and history. Shadows of tropical plants are used as furtive images to echo the presence and absence of nature in our urban environment.
’Planting Shadows’ was adapted from botanical drawings produced during the colonial era, to trace the past to present landmark of Gardens by the Bay, where we see the cultivation and celebration of nature.
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TE23: Tanjong Rhu
telinga ekologi kita
by bani haykal
These sculptures are imaginings of sound mirrors or acoustic mirrors, that were once a form of proto-radar developed in the early 20th century, used to listen to the skies as a form of surveillance during World War I. Numerous designs and methods of operation were born across the world.
In the 1930s, it was claimed that there were plans to construct and install 5 to 8 sound mirrors around Singapore by the British. However, these plans never came to fruition, as the biophonic activity – sounds emanating from wildlife in natural settings – proved too loud and disruptive for the effectiveness of these surveillance mechanisms. The construction plan thus became an unheard colonial history.
The artwork envisions the area of Tanjong Rhu as one of the places where these sound mirrors could have been installed.
TE23: Tanjong Rhu
telinga ekologi kita
by bani haykal
These sculptures are imaginings of sound mirrors or acoustic mirrors, that were once a form of proto-radar developed in the early 20th century, used to listen to the skies as a form of surveillance during World War I. Numerous designs and methods of operation were born across the world.
In the 1930s, it was claimed that there were plans to construct and install 5 to 8 sound mirrors around Singapore by the British. However, these plans never came to fruition, as the biophonic activity – sounds emanating from wildlife in natural settings – proved too loud and disruptive for the effectiveness of these surveillance mechanisms. The construction plan thus became an unheard colonial history.
The artwork envisions the area of Tanjong Rhu as one of the places where these sound mirrors could have been installed.
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TE24: Katong Park
Time After Time
by Sit Weng San & Tania De Rozario
Katong Park has served as a site for a myriad of historical moments – from a military fort to a swimmers’ paradise, stories of survival, and near-escape. The artwork taps into these rich histories to create images that explore themes of memory, archaeology, time, and body. By projecting archival images onto the body of the park, and creating new images in the process, these photographic works showcase how the past meets the present, and how the border between the two dissolves.
TE24: Katong Park
Time After Time
by Sit Weng San & Tania De Rozario
Katong Park has served as a site for a myriad of historical moments – from a military fort to a swimmers’ paradise, stories of survival, and near-escape. The artwork taps into these rich histories to create images that explore themes of memory, archaeology, time, and body. By projecting archival images onto the body of the park, and creating new images in the process, these photographic works showcase how the past meets the present, and how the border between the two dissolves.
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TE25: Tanjong Katong
“The waters are blue
Yet I pine for you”
by Sim Chi Yin
The mural combines memories and complex histories of Singapore’s reclaimed eastern coast, where this station sits. Using archival images, family photos (including Sim’s own), and pictures she’s made, the collage contains vignettes of the area’s past. From the iconic Big Splash, local swimming clubs with pagars (enclosures) that were once in the sea, Kampong Amber – home to Malay fishermen and Peranakan communities, and the now-endangered Katong (Javanese for leatherback sea turtle) that once came ashore at the tanjong (cape).
With a whimsical, hand-cut aesthetic, the mural makes speculation about whose narratives are hidden in history.
This artwork’s title is taken from the first stanza of the popular folk song ‘Di Tanjung Katong’.
TE25: Tanjong Katong
“The waters are blue
Yet I pine for you”
by Sim Chi Yin
The mural combines memories and complex histories of Singapore’s reclaimed eastern coast, where this station sits. Using archival images, family photos (including Sim’s own), and pictures she’s made, the collage contains vignettes of the area’s past. From the iconic Big Splash, local swimming clubs with pagars (enclosures) that were once in the sea, Kampong Amber – home to Malay fishermen and Peranakan communities, and the now-endangered Katong (Javanese for leatherback sea turtle) that once came ashore at the tanjong (cape).
With a whimsical, hand-cut aesthetic, the mural makes speculation about whose narratives are hidden in history.
This artwork’s title is taken from the first stanza of the popular folk song ‘Di Tanjung Katong’.
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TE26: Marine Parade
WALK
by Ang Sookoon
'WALK' encapsulates the essence of fluid tranquillity and extends its company to those who pass by while making their daily journeys. Crafted to look like it is from a single block of plasticine, the sculpture preserves subtle imprints from its packaging. Delicate traces are left by the artist’s fingertips and her childhood memory of creating plasticine sculptures with her sisters during school vacations.
Amidst the perpetual rhythm of the cityscape, the artwork offers a moment of tactile reflection and a nod to the shared pilgrimage of city dwellers.
The sculpture thus emerges not merely as a static creation but as a dynamic narrative that serves as a symbol of life’s journey, paying tribute to the people who have walked through life and contributed to the tapestry of Marine Parade’s rich history.
TE26: Marine Parade
WALK
by Ang Sookoon
'WALK' encapsulates the essence of fluid tranquillity and extends its company to those who pass by while making their daily journeys. Crafted to look like it is from a single block of plasticine, the sculpture preserves subtle imprints from its packaging. Delicate traces are left by the artist’s fingertips and her childhood memory of creating plasticine sculptures with her sisters during school vacations.
Amidst the perpetual rhythm of the cityscape, the artwork offers a moment of tactile reflection and a nod to the shared pilgrimage of city dwellers.
The sculpture thus emerges not merely as a static creation but as a dynamic narrative that serves as a symbol of life’s journey, paying tribute to the people who have walked through life and contributed to the tapestry of Marine Parade’s rich history.
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TE27: Marine Terrace
A seat at the end of the long, long, long table
by Moses Tan
‘A seat at the end of the long, long, long table’ is an exploration of family lines, histories, roots, and ties across generations and geographical zones. Illustrated as a family tree, the artist collaborated with families from the Marine Terrace area to create an artwork that establishes familial ties that are re-imagined as star constellations, taking reference from family portraits and photographs.
TE27: Marine Terrace
A seat at the end of the long, long, long table
by Moses Tan
‘A seat at the end of the long, long, long table’ is an exploration of family lines, histories, roots, and ties across generations and geographical zones. Illustrated as a family tree, the artist collaborated with families from the Marine Terrace area to create an artwork that establishes familial ties that are re-imagined as star constellations, taking reference from family portraits and photographs.
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TE28: Siglap
The Darkness which Reveals
by Melissa Tan
Kampong Siglap is believed to have been founded between 1819 and 1822 by Tok Lasam from the city of Pontianak in modern-day Indonesia. The name ‘Siglap’, derived from the Malay word ‘Gelap’ which means darkness that conceals, may be traced to a 19th century solar eclipse that occurred in tandem with his arrival by sea under the cover of darkness.
The artwork references the method by which the terrain of the moon is studied, utilising mapping data to show the moon’s uneven surface, the play of light and shadows, and transmuting these shadows into perforations on the metal plates. Just as the moon reflects sunlight, the reflective metal mirrors this phenomenon, providing an illusion of iridescence.
Thus, darkness is reconsidered, not as concealing but as the revealing of information and fragmented stories of Tok Lasam’s arrival.
TE28: Siglap
The Darkness which Reveals
by Melissa Tan
Kampong Siglap is believed to have been founded between 1819 and 1822 by Tok Lasam from the city of Pontianak in modern-day Indonesia. The name ‘Siglap’, derived from the Malay word ‘Gelap’ which means darkness that conceals, may be traced to a 19th century solar eclipse that occurred in tandem with his arrival by sea under the cover of darkness.
The artwork references the method by which the terrain of the moon is studied, utilising mapping data to show the moon’s uneven surface, the play of light and shadows, and transmuting these shadows into perforations on the metal plates. Just as the moon reflects sunlight, the reflective metal mirrors this phenomenon, providing an illusion of iridescence.
Thus, darkness is reconsidered, not as concealing but as the revealing of information and fragmented stories of Tok Lasam’s arrival.
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TE29: Bayshore
Farther Shores
by Bruce Quek
It wasn’t so long ago when the sea would have been above you, and no one had yet named this place Bayshore. In time to come, perhaps the shoreline will be elsewhere once again, and the very sense of what this place is will continue to evolve.
‘Farther Shores’ takes images of our Bayshore as it is and blends them with other places that share the same name. It also shares about the imagined possibilities of what Bayshore may once have been and what it may yet be. This is not to disorient us in time and space, but to broaden our sense of who we are, what we have been, and what we may become.
TE29: Bayshore
Farther Shores
by Bruce Quek
It wasn’t so long ago when the sea would have been above you, and no one had yet named this place Bayshore. In time to come, perhaps the shoreline will be elsewhere once again, and the very sense of what this place is will continue to evolve.
‘Farther Shores’ takes images of our Bayshore as it is and blends them with other places that share the same name. It also shares about the imagined possibilities of what Bayshore may once have been and what it may yet be. This is not to disorient us in time and space, but to broaden our sense of who we are, what we have been, and what we may become.
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