In Gomes’s new body of work, the artist navigates the pitfalls of unhealthy dependencies within relationships, particularly the evolution of distant infatuation into all-consuming delusions of intimacy. These themes are explored through a voyeuristic point-of-view, in relation to the mythos of the Wendigo, a cannibalistic spirit cursed into existence of constant starvation, driven only by the hunger of an ever-increasing appetite. While morbid in a thematic sense, the sculptures underplay their ghoulish inspiration, hiding behind shades of pastels and innocuous expressions, a meld of grim desires against dreamlike delirium.
In tandem with dreamlike landscapes, Lim’s new works are an extension of his ongoing series in which the artist adopts a pensive stance during times of isolation and social change. The works reflect a degree of surreal reality, a juxtaposition of the real and unreal, an ambiguity that Lim strives in his paintings to allow himself space to ponder and look inward in the hopes of arriving at some state of resolution, and most importantly, to make sense of his place in the modern world.
Yeoh presents two previously unseen works from his iconic Streaming Mountain series specifically from his 2019-2020 period. The works are emotionally charged with Yeoh’s personal experiences. Yeoh employs different expressive techniques to express his admiration for frontline fighters and heroes in his personal life, including a dripping style which has become synonymous with this series. The two works are representative of Yeoh’s overall artistic practice in which art becomes a conduit of interaction between himself and his current surroundings.
This presentation comes together as a reminder of the complexities of contemporary life, specifically during these times of social anxiety. Colourful and playful the façade of an individual may seem, but the undercurrents are usually ominous and a constant struggle for acceptance.