Sarah Noorhimli

1. Senandung Malam
(2024)

2. FaceTime Landscapez (buah tangan)
(2024)

1. Video, wall putty      
2. Archival prints, wall putty

1. 21 x 9 ratio
Colour with audio
6:27'
2. Variable dimensions
Series of 4 prints
75.7 x 150.9 mm per print

Senandung Malam (2024) is a mediation between unmet nostalgic desires and the pains of a chronic urbanity. This sporadic stream of landscapes presents itself as a fleeting gaze in critical contemplation. This work follows the artist as she attempts to recreate her mother’s journey on the Senandung Malam Express, an overnight train that terminates at Kuala Lumpur railway station, with modern day conditions.

FaceTime Landscapez (buah tangan) (2024) looks at modern practices of freezing time via the screenshot. This series utilises the screenshot as a tool of photography in thinking about an alternative form of a souvenir–collected by cyborgian beings who seem to have traded the materiality of the IRL for an impermanent fleetingness.

Sarah Noorhimli has built a body of work that attests to the temporality of the human body in an environment of rapid urbanisation. She sifts through her personal image archive and appropriates references from film to conceive a hybrid form of speculative nostalgia. Her practice presents itself as a dreamscape, emanating feelings of familiarity and discomfort, where she collaborates with the computer to create technologically-contaminated images.

Recently, Sarah has shifted her focus to the materiality of the body in its form and existence. She interrogates the manifestation of an artwork through her bodily presence, prioritising human connection over physical production.