Once Upon This Island

The Hidden Dimension II depicts seven family members going about their daily routine and task in individual rooms and sections of a house, played on a seemingly endless loop. The patterns and habits of everyday life portrayed in The Hidden Dimension II are familiar; patterns which many people might exhibit in their own life. And yet, this quiet normalcy also contributes to a sense of isolation and distances as each family member seems to e lost in their own routines and the trappings of objects, where the lack of interaction is a reflection of the modern society.

We Are Family celebrates the diversity of Singaporean's cultures by employing vivid colours, textures and shapes in a participatory, intertwining soft sculpture installation. The art work suggests that the soft sculpture pieces are much like the members of a family, or even a societal unit that, when linked together, forge a stronger structure through unity.

Carrying a cluster of red lanterns and covering the entire body in yellow paint, The performance took place during the Mid-Autumn celebration in Singapore , and was a way for the artist to celebrate the festival as a "one-man lantern procession". The particular use of red lanterns was an easy signifier of 'Chineseness' and the work is also an allusion to the anti-racism song made famous by Billie Holiday, wherein ethnicity becomes a confining prison by which a person is judged, obliterating all other facets of one's identity or personality.

Not Much to See is part of a series of sculptural works by artist Chun Kaifeng which explore the significance of commonplace objects that exist in Singapore's urban environment. Although familiar and commonplace objects such as these slippers define and make up our everyday settings, they do not stand out, and are not meant to. However, the artist suggests that these objects wield a powerful influence on the urban environment and the people who live in it, and that these apparently mundane objects and settings might be more significant that they seem at first, being so intimately linked with our everyday lives in Singapore.

Siapa Nama Saya? is a part of a series of artwork by artist Green Zeng that examines issues of history and identity in Singapore. Siapa Nama Saya? revisits the idea of identity, language and its significance in the context of Singapore's multi-cultural society, at the same time reminding viewers of the historical events that took place in the 1950s when Singapore was still a young nation wrestling with issues of identity and governance.