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Andrea Rachel Danker



seven thousand one hundred and ninety-one minutes of being together (2022)

digital print and text on waterproof pp paper

Encountering the landscape of Kuching, Sarawak together as a group, it is evident that the bond and friendship built amongst each other deepened as we traversed and immersed ourselves into the spaces, sights and culture of Kuching, absorbing new experiences and creating many amazing memories within these five short but fulfilling days. This body of work thus responds to the fleeting moments of time encapsulated within the whole duration of this field trip.
The transient time spent is being stretched and weighed down, baring a visual narrative that foregrounds presence and mass whilst pointing towards an ephemeral quality that is now visible and felt – a method of slowing down time that parallels the many lived experiences made and shared momentarily together.


bittersweet honey  (2022)

repurposed frame, digital print on vinyl sticker, raffia strings
Throughout our stay at the Annah Rais longhouse, we warmly embraced the indigenous way of living. There is a strong sense of community spirit amongst the indigenous people, as well as mindful care for each other and their environment. In every nook and corner of the longhouse, one could not help but take notice of the little handmade knots and attachments visibly utilised to secure two joints together. These made use of banal everyday items like raffia strings, rattan stripes, cables, rubber bands and even wire ties, creating what looks like a temporary fixture yet is seemingly secure.

This series thus delves into the idea of resourcefulness through the act of tying as a form of conscious mending. Responding to the gallery site, bittersweet honey is a subtle dispersion of miniature knotted installations acting as a reminder to reconsider Singapore's waste production and culture of throwing things away. Playfully presented so as to be stumbled upon by viewers, the work fosters a sense of attentiveness to the need to breath new life into an existing object or environment that may otherwise be neglected and forgotten.



Andrea Danker is a Malaysian visual artist based in Singapore. She has recently graduated from LASALLE College of the Arts with a First Class BA(Hons) Fine Arts degree. She uses storytelling as her mode of visual narrative, primarily working with painting, drawing, assemblage and notation. Her focus is on the minute and the smallness of things existing within narratives of the self, human life, and our past and present interactions.
Her interests lie in the amplification of micro-stories and experiences that explore themes of displacement, constructs of home and the desire for belonging within the wider landscape of our surroundings. She is concurrently showing at Across Narrow Waters in conjunction with Septfest 2022 organised by The Substation.

Chen Min Suen



A Fivefold Path (2022)

Bamboo, sound piece

A Fivefold Path is an attempt at renewing the link between the bamboo tube zither (pratuokng) and the Chinese zither (zheng). Believed to be one of the main predecessors of zheng, pratuokng also has a pentatonic scale. Throughout thousands of years, the pratuokng masters have multiplied the richness of Borneo’s culture through their unique creations with the pentatonic instrument.
The attempt to play the broken pratuokng is a creative process of restoration initiated by the artist – a practitioner of zheng.


Lapisan (Layers) (2022)

Bamboo charcoal on hemp paper
Hemp paper is often used in the wrapping of commodities such as Chinese tea for protection during transportation. When used in layers, hemp paper reduces the recognisability of the objects beneath it. The opaqueness of the layers invites an attempt to form a relationship when a viewer's curiosity is piqued.

Using the hemp paper that protected the artist’s object on the way back from Borneo as a surface for exploration, the work is developed through drawings with bamboo charcoal and attempts to extend the viewer's curiosity and inclination to identify.






Chen Min Suen is a Malaysian visual artist who has a background in philosophy. Interested in the idea of perception and phenomenology, Min Suen's artistic research meditates on the phenomenological observations germane to the materiality of everyday life.
Her art practice ruminates on in-depth observations processed through her being in the physical realm. Through attempts to initiate a dialogue – through the realisation and representation of the perceived experience – Chen seeks to discover the connections innate to the state of being.

Lim E-Lynn Joanne



at one point of time (2022)

Sculptural drawings

at one point of time (2022) is a sculptural drawing that morphs throughout the day, portraying the fleeting moments in time during the field trip to Kuching. Each sculptural drawing depicts a single scene captured by the artist through the act of data collection during the trip, which was subsequently reduced into different symbols and colours to create a datafied abstracted artwork.
The drawings will change throughout the day, depending on the time the artist encounters the various scenarios, hence creating an ever-changing imagery that can only be experienced fleetingly.


Joanne Lim is a Singapore-based artist who recently graduated from LASALLE College of the Arts, in partnership with Goldsmiths, University of London. Interested in the translation and visualisation of data that she collects in long term collaborative projects with the community, Joanne's practice delves into conveying data and experiences in aesthetic forms as a way of presentation, using numerous media to address current social issues.

Isabella Teng


How to Touch a Memory (2022)

charcoal on postcard-sized paper, set of 20

Drawings in charcoal can be held stable for a time with fixative spray. Can the same be said for memories? Or are they more mutable, changing a little with each revisit, each rememberance? In How to Touch a Memory (2022), the twenty travel postcard-sized drawings are inspired by scenes the artist encountered on her solo trip to Kuching, Sarawak.
Half of the scenes were captured with a miniature palm-sized camera. Revisiting these split-second moments in full, each drawing wonders about the curious attempt to remember anew, and to be absorbed presently in a moment from the past.





Isabella Teng Yen Lin is an artist working in the areas of drawing, painting and public installation. Her works examine the nature of perception through the intersection of line, space, text and illusion, and explore how perceptual shifts may be made possible through art.