In Tan’s re-telling, these mythological figures find form in scintillant metal sculptures that reference the astronomical positions of the asteroids that have been named for these goddesses. Each unique shape is both a ‘house’ as well as a portal in space-time through which we glimpse a figure, and her story.

The Fates, the Muses, and the Charities are a deeply personal and meaningful assembly for the artist to invoke. Mirrored in the stars, they span the breadth of human emotion and expression, personifying the many faces and facets of creative inspiration, as well as the gentle wellspring of hope, beauty and joy that offer us solace – all the things that make the vagaries of fate, and our shared and allotted time on earth, something worth living for.

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The inaugural edition will feature new works of 5 artists from Singapore, Malaysia, Philippines and Indonesia: John Marie Andrada (Philippines/ Singapore), Liew Kwai Fei (Malaysia), Lucas Tan (Singapore), S.Urubingwaru (Indonesia) and Oscar Xyh (Singapore).

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Forms abstracted from temples and religious artefacts are embedded in these new paintings. They emerge as cell-like structures which are organised into irregular patterns that evoke pulsating rhythms. The resulting works possess a trance-like quality, that suggest the entry into a different mental state. In that sense, Tay’s paintings are images that are held by the mind’s eye. They speak to the artist’s personal search for an inner truth and his connection to an inner world.

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For John Marie Andrada’s first solo exhibition Breadth of Air, we can think of a montage as effective chapters offering a condensed breadth of the artist’s practice and history. In addition, the works seek to give shape for our breaths of air in various phases of questioning, longing, and solace.

A prevalent choice of colour in the exhibition is blue, stretched and swirled in possibilities of density and form. In Andrada’s reconciliation with grief, blue skies and moving waters become conduits of infinity: How long more does life go on, at the absence of a loved one? Yet, the montage of skies also harbours the comfort of endlessness: Life goes on, regardless of the presence of a loved one. As fond memories ascend in our thoughts, we knead them to the best of our ability to remember.

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In Esmond Loh’s (b.1995) debut solo exhibition with Haridas Contemporary, Cliffhanger provides various alternate commentaries on a hyper-connected society at the brink of existential cliffhangers. Featuring fourteen paintings depicting scenes of climate dystopia, urban isolation, and the precious intimacy of mourning, Loh’s work concocts entities beyond human figures. Ranging from animals, trees, buildings, abstract forms, and enigmatic objects, an orchestrated interaction is fostered between his characters to heighten seemingly ordinary scenarios, teetering into surreptitious endings.

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His recent body of works addresses painting’s porosity to apprehend images from various sources (where digitality and screen captures have become ubiquitous), albeit belatedly, in a serial linen and stretcher format that delivers its subject from a mediated world. In selecting an image, he looks for effects, qualities and values that elicit interest to make a painting. He then acts upon them by extracting, cropping, reducing, magnifying or flattening the image for printing, to paint from.

His subject then becomes one of seeing: a painting’s object and intermediality; its internal logic; its pictorial construction; its emphasis on surface and touch; and its semblance of life. However, painting here is also interested in what is not seen but thought and felt: its peripheries; its silence; and its capacity—to desire, resist, linger upon, probe and take hold of.

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