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Aaryama Somayaji



The Nameless Lands: Tabeez I, II, III, IV, V (2024)


Embroidery with beads and brassbells from Sarawak, vintage silk saree fabricfrom artist’s mother, graphite on wall

I - Headband, 80 x 4cm
II - Scarf, 116 x 6cm
III - Arm Band, 28 x 7.5cm
IV - Belt, 116 x 8 - 10.5cm
V - Chatelaine, 29.5 x 10cm

The Nameless Lands: Tabeez is a set of talisman bearing wearables, a souvenir bought especially for the artist, from the world that the Traveller is currently documenting. These are influenced by my travels to Sarawak, and reading about its folklore combined with my personal fascination with the esoteric. Using the visual language of the scroll made for my previous work for The Traveller’s Accounts, I further developed the style to design these protective seals that I have embroidered into the material.
These pieces have been created for the Winston Oh Travelogue show. The fabric used is my mother’s unbleached silk saree from the 80’s that had begun to fray and has met a new life in the form of these protective amulet-like accessories.




Aaryama Somayaji is an Indian artist based in Singapore. She has a background in storytelling and illustration. Her practice focuses on showcasing stories about food and its significance in the collective cultural existence of humans. Her work is influenced by her lived experiences in kitchens, both literal and metaphorical. She employs techniques from epic fantasy literature and anthropological studies of food movements, histories, and forms of consumption. Somayaji investigates our relationship with food and its impact on our social identity, using layered stories and complex logic systems to create personas that navigate worlds within worlds, making her work relevant in a global context.
After earning a Bachelor of Design (Hons) from the National Institute of Design, Andhra Pradesh in 2019 and a Master of Arts in Fine Arts (Distinction) from LASALLE College of the Arts, Singapore in 2024, she worked as an illustrator-designer with trade publishers in India and Singapore, including HarperCollins and Penguin Random House. She has previously exhibited as part of this Is not a monster at the Institute of Contemporary Arts Singapore and Weather - Tropical Lab 18. She received the LASALLE MA Merit Award in 2023 and the Dr. Winston Oh Travelogue Award in 2024.

Andrea Danker



Soft compressions, 2024


acrylic on canvas, image transfer on wood


1) 45.7 x 33 cm
2) 25 x 43 cm
3)
    3a) 30 x 55 cm,
    3b) 30 x 25 cm
4) 30 x 25 cm

soft compressions, 2024 is an ongoing series that presents itself as a visual reminder for bodily care in the desire for repair and healing. Reinterpreting the frame's role in holding, supporting, and stretching the canvas, the artist explores and reimagines these gestures whilst utilising the motif of blue skies to reflect her yearning for comfort and stability within her body.




Andrea Danker (b.1996) is a Singapore-based visual artist from Malaysia. Her work rethinks and privileges the subtle minuscule shifts of lived experiences, exploring the constructs of inhabitation within a passing time and space. She works across painting and installation employing techniques of storytelling to present different views of perceiving everyday events and occurrences informed through personal narratives and social implications.
She graduated with a BA(Hons) in Fine Arts first class from LASALLE College of the Arts, Singapore. She has participated in notable group exhibitions with Intersections Gallery, Art Outreach Singapore, Critical Craft Collective, DECK Singapore and The Substation. She was nominated for the International Takifuji Art Award in 2021 and was awarded the Winston Oh Travelogue Award in 2022.

Ashley Yeo



1. Drawings (Sikkim)
2. Study of cherry blossoms
3. Study for salarymen


1. pen on paper
2. pencil on paper
3. pencil and watercolour on paper


1. 14 x 10 cm
2. 35 x 42 cm
3. 30 x 40 cm

Through the act of drawing, the lines transform into a form of materiality—an embodied density capable of carrying moments that extend beyond words. It holds the traces of time, fragments of memory, and fleeting moments. The drawn line becomes a vessel for time and space, as well as a medium for language. The collection of observational drawings created during travels, alongside preparatory sketches made before the realization of finished works offer something more intimate from the drawing process, emphasizing the subtlety and closeness that a drawing practice nurtures.





Ashley YK Yeo (b. 1990, Singapore) graduated with a Master’s Degree in Fine Arts from the University of Arts London, Chelsea College of Arts, London, United Kingdom in 2012. She has participated in numerous exhibitions in Singapore, Japan, South Korea, United Kingdom, and the United States. Yeo was the first Singaporean artist to be shortlisted for the LOEWE Craft Prize, London, UK (2018)

Ayano Hattori



Yellow Adorment (1), Nectar, Skin Fallen like Fabric, The Quivered, and Yellow Trauma: The Possibility of a New Aesthetic from Yellow Trauma


HD video and text

5’36’’(video)

Yellow Trauma delineates the contemporary experience of being Asian in the current world through the languages of the audio, visual and text. This tripartite mode of embodiment evokes silence as the silenced state of the disempowered, politicises gaze as the politics and a hidden location of power, and aestheticises the optical recognition of colour to a racialised colour scheme. Embodying the aesthetic state of yellow women itself, Yellow Adornment (1) transmutes the white cube of a gallery space into a white space, a sociopolitical and hegemonial space.





Ayano is an artist and the founder of AH+, a de-centring project and residency for collective research. My PhD degree was awarded from Kingston University, UK, with the thesis titled You Saw Nothing: Sight, Digital Video, Post-3.11 Japan. Embodied in multi-disciplinary fields, my works constitute a tripartite location of research, aesthetics and activism. Her research areas are located within the modern constructions of power both in the sociological realms of centre–periphery relations, race, gender and nation and in the aesthetic realms of the camera and representation. She is also an educator, teaching Photography at Nagaoka Institute of Design, Japan.