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Two weeks ago, we hosted an exhibition in collaboration with Corridor Arts Project! Titled, Ma (間) — The Space Between All Things, this group show drew our attention to moments of emptiness in our daily lives – pauses, gaps, absences, omissions, shadows and silences. Sited within a HDB corridor, the works in this exhibition presented themselves as spontaneous encounters, transforming one’s passage through the corridor as a journey where movement, gaze and touch become powerful tools that disrupt banal systems of normative conformity.

This post is intended to provide some documentation of the exhibition, which only existed for a few hours before we took it down and returned the space to the public domain :) Many thanks to @rachlinhy and @awjunming for being such gracious hosts, to @gohchenghao for these wonderful photographs, and to everyone who came down to support us and engage with this project. And of course, to the amazing artists Choy Jia Ying @spaceywrrld , Cavin Lim @cavibo_ and Hendra Selamat @02___hen for being their brilliant, inquisitive and fearless selves.

Please find our catalogue at https://tinyurl.com/thespacebetweenallthings for more information on the exhibition itself.

Works List:
Slide 1-2: open diner (2026) by Hendra Selamat
Slide 3: Family Trip (2026) by Cavin Lim
Slide 4: A Day (2026) and Ang Huey (2026) by Cavin Lim
Slides 5-6: in passing, (2025-ongoing) by Choy Jia Ying
Slide 7: Membawa Bawang (membawang di bawah) (2026) by Hendra Selamat
Slide 8: Into the sun, I am set to wane (Sunset Industry) (2026) by Hendra Selamat
Slide 9: rights or wrung (2026) by Hendra Selamat itself.

Music by @tammie.lim

Two weeks ago, we hosted an exhibition in collaboration with Corridor Arts Project! Titled, Ma (間) — The Space Between All Things, this group show drew our attention to moments of emptiness in our daily lives – pauses, gaps, absences, omissions, shadows and silences. Sited within a HDB corridor, the works in this exhibition presented themselves as spontaneous encounters, transforming one’s passage through the corridor as a journey where movement, gaze and touch become powerful tools that disrupt banal systems of normative conformity.

This post is intended to provide some documentation of the exhibition, which only existed for a few hours before we took it down and returned the space to the public domain :) Many thanks to @rachlinhy and @awjunming for being such gracious hosts, to @gohchenghao for these wonderful photographs, and to everyone who came down to support us and engage with this project. And of course, to the amazing artists Choy Jia Ying @spaceywrrld , Cavin Lim @cavibo_ and Hendra Selamat @02___hen for being their brilliant, inquisitive and fearless selves.

Please find our catalogue at https://tinyurl.com/thespacebetweenallthings for more information on the exhibition itself.

Works List:
Slide 1-2: open diner (2026) by Hendra Selamat
Slide 3: Family Trip (2026) by Cavin Lim
Slide 4: A Day (2026) and Ang Huey (2026) by Cavin Lim
Slides 5-6: in passing, (2025-ongoing) by Choy Jia Ying
Slide 7: Membawa Bawang (membawang di bawah) (2026) by Hendra Selamat
Slide 8: Into the sun, I am set to wane (Sunset Industry) (2026) by Hendra Selamat
Slide 9: rights or wrung (2026) by Hendra Selamat itself.

Music by @tammie.lim

Two weeks ago, we hosted an exhibition in collaboration with Corridor Arts Project! Titled, Ma (間) — The Space Between All Things, this group show drew our attention to moments of emptiness in our daily lives – pauses, gaps, absences, omissions, shadows and silences. Sited within a HDB corridor, the works in this exhibition presented themselves as spontaneous encounters, transforming one’s passage through the corridor as a journey where movement, gaze and touch become powerful tools that disrupt banal systems of normative conformity.

This post is intended to provide some documentation of the exhibition, which only existed for a few hours before we took it down and returned the space to the public domain :) Many thanks to @rachlinhy and @awjunming for being such gracious hosts, to @gohchenghao for these wonderful photographs, and to everyone who came down to support us and engage with this project. And of course, to the amazing artists Choy Jia Ying @spaceywrrld , Cavin Lim @cavibo_ and Hendra Selamat @02___hen for being their brilliant, inquisitive and fearless selves.

Please find our catalogue at https://tinyurl.com/thespacebetweenallthings for more information on the exhibition itself.

Works List:
Slide 1-2: open diner (2026) by Hendra Selamat
Slide 3: Family Trip (2026) by Cavin Lim
Slide 4: A Day (2026) and Ang Huey (2026) by Cavin Lim
Slides 5-6: in passing, (2025-ongoing) by Choy Jia Ying
Slide 7: Membawa Bawang (membawang di bawah) (2026) by Hendra Selamat
Slide 8: Into the sun, I am set to wane (Sunset Industry) (2026) by Hendra Selamat
Slide 9: rights or wrung (2026) by Hendra Selamat itself.

Music by @tammie.lim

Two weeks ago, we hosted an exhibition in collaboration with Corridor Arts Project! Titled, Ma (間) — The Space Between All Things, this group show drew our attention to moments of emptiness in our daily lives – pauses, gaps, absences, omissions, shadows and silences. Sited within a HDB corridor, the works in this exhibition presented themselves as spontaneous encounters, transforming one’s passage through the corridor as a journey where movement, gaze and touch become powerful tools that disrupt banal systems of normative conformity.

This post is intended to provide some documentation of the exhibition, which only existed for a few hours before we took it down and returned the space to the public domain :) Many thanks to @rachlinhy and @awjunming for being such gracious hosts, to @gohchenghao for these wonderful photographs, and to everyone who came down to support us and engage with this project. And of course, to the amazing artists Choy Jia Ying @spaceywrrld , Cavin Lim @cavibo_ and Hendra Selamat @02___hen for being their brilliant, inquisitive and fearless selves.

Please find our catalogue at https://tinyurl.com/thespacebetweenallthings for more information on the exhibition itself.

Works List:
Slide 1-2: open diner (2026) by Hendra Selamat
Slide 3: Family Trip (2026) by Cavin Lim
Slide 4: A Day (2026) and Ang Huey (2026) by Cavin Lim
Slides 5-6: in passing, (2025-ongoing) by Choy Jia Ying
Slide 7: Membawa Bawang (membawang di bawah) (2026) by Hendra Selamat
Slide 8: Into the sun, I am set to wane (Sunset Industry) (2026) by Hendra Selamat
Slide 9: rights or wrung (2026) by Hendra Selamat itself.

Music by @tammie.lim

Two weeks ago, we hosted an exhibition in collaboration with Corridor Arts Project! Titled, Ma (間) — The Space Between All Things, this group show drew our attention to moments of emptiness in our daily lives – pauses, gaps, absences, omissions, shadows and silences. Sited within a HDB corridor, the works in this exhibition presented themselves as spontaneous encounters, transforming one’s passage through the corridor as a journey where movement, gaze and touch become powerful tools that disrupt banal systems of normative conformity.

This post is intended to provide some documentation of the exhibition, which only existed for a few hours before we took it down and returned the space to the public domain :) Many thanks to @rachlinhy and @awjunming for being such gracious hosts, to @gohchenghao for these wonderful photographs, and to everyone who came down to support us and engage with this project. And of course, to the amazing artists Choy Jia Ying @spaceywrrld , Cavin Lim @cavibo_ and Hendra Selamat @02___hen for being their brilliant, inquisitive and fearless selves.

Please find our catalogue at https://tinyurl.com/thespacebetweenallthings for more information on the exhibition itself.

Works List:
Slide 1-2: open diner (2026) by Hendra Selamat
Slide 3: Family Trip (2026) by Cavin Lim
Slide 4: A Day (2026) and Ang Huey (2026) by Cavin Lim
Slides 5-6: in passing, (2025-ongoing) by Choy Jia Ying
Slide 7: Membawa Bawang (membawang di bawah) (2026) by Hendra Selamat
Slide 8: Into the sun, I am set to wane (Sunset Industry) (2026) by Hendra Selamat
Slide 9: rights or wrung (2026) by Hendra Selamat itself.

Music by @tammie.lim

Two weeks ago, we hosted an exhibition in collaboration with Corridor Arts Project! Titled, Ma (間) — The Space Between All Things, this group show drew our attention to moments of emptiness in our daily lives – pauses, gaps, absences, omissions, shadows and silences. Sited within a HDB corridor, the works in this exhibition presented themselves as spontaneous encounters, transforming one’s passage through the corridor as a journey where movement, gaze and touch become powerful tools that disrupt banal systems of normative conformity.

This post is intended to provide some documentation of the exhibition, which only existed for a few hours before we took it down and returned the space to the public domain :) Many thanks to @rachlinhy and @awjunming for being such gracious hosts, to @gohchenghao for these wonderful photographs, and to everyone who came down to support us and engage with this project. And of course, to the amazing artists Choy Jia Ying @spaceywrrld , Cavin Lim @cavibo_ and Hendra Selamat @02___hen for being their brilliant, inquisitive and fearless selves.

Please find our catalogue at https://tinyurl.com/thespacebetweenallthings for more information on the exhibition itself.

Works List:
Slide 1-2: open diner (2026) by Hendra Selamat
Slide 3: Family Trip (2026) by Cavin Lim
Slide 4: A Day (2026) and Ang Huey (2026) by Cavin Lim
Slides 5-6: in passing, (2025-ongoing) by Choy Jia Ying
Slide 7: Membawa Bawang (membawang di bawah) (2026) by Hendra Selamat
Slide 8: Into the sun, I am set to wane (Sunset Industry) (2026) by Hendra Selamat
Slide 9: rights or wrung (2026) by Hendra Selamat itself.

Music by @tammie.lim

Two weeks ago, we hosted an exhibition in collaboration with Corridor Arts Project! Titled, Ma (間) — The Space Between All Things, this group show drew our attention to moments of emptiness in our daily lives – pauses, gaps, absences, omissions, shadows and silences. Sited within a HDB corridor, the works in this exhibition presented themselves as spontaneous encounters, transforming one’s passage through the corridor as a journey where movement, gaze and touch become powerful tools that disrupt banal systems of normative conformity.

This post is intended to provide some documentation of the exhibition, which only existed for a few hours before we took it down and returned the space to the public domain :) Many thanks to @rachlinhy and @awjunming for being such gracious hosts, to @gohchenghao for these wonderful photographs, and to everyone who came down to support us and engage with this project. And of course, to the amazing artists Choy Jia Ying @spaceywrrld , Cavin Lim @cavibo_ and Hendra Selamat @02___hen for being their brilliant, inquisitive and fearless selves.

Please find our catalogue at https://tinyurl.com/thespacebetweenallthings for more information on the exhibition itself.

Works List:
Slide 1-2: open diner (2026) by Hendra Selamat
Slide 3: Family Trip (2026) by Cavin Lim
Slide 4: A Day (2026) and Ang Huey (2026) by Cavin Lim
Slides 5-6: in passing, (2025-ongoing) by Choy Jia Ying
Slide 7: Membawa Bawang (membawang di bawah) (2026) by Hendra Selamat
Slide 8: Into the sun, I am set to wane (Sunset Industry) (2026) by Hendra Selamat
Slide 9: rights or wrung (2026) by Hendra Selamat itself.

Music by @tammie.lim

Two weeks ago, we hosted an exhibition in collaboration with Corridor Arts Project! Titled, Ma (間) — The Space Between All Things, this group show drew our attention to moments of emptiness in our daily lives – pauses, gaps, absences, omissions, shadows and silences. Sited within a HDB corridor, the works in this exhibition presented themselves as spontaneous encounters, transforming one’s passage through the corridor as a journey where movement, gaze and touch become powerful tools that disrupt banal systems of normative conformity.

This post is intended to provide some documentation of the exhibition, which only existed for a few hours before we took it down and returned the space to the public domain :) Many thanks to @rachlinhy and @awjunming for being such gracious hosts, to @gohchenghao for these wonderful photographs, and to everyone who came down to support us and engage with this project. And of course, to the amazing artists Choy Jia Ying @spaceywrrld , Cavin Lim @cavibo_ and Hendra Selamat @02___hen for being their brilliant, inquisitive and fearless selves.

Please find our catalogue at https://tinyurl.com/thespacebetweenallthings for more information on the exhibition itself.

Works List:
Slide 1-2: open diner (2026) by Hendra Selamat
Slide 3: Family Trip (2026) by Cavin Lim
Slide 4: A Day (2026) and Ang Huey (2026) by Cavin Lim
Slides 5-6: in passing, (2025-ongoing) by Choy Jia Ying
Slide 7: Membawa Bawang (membawang di bawah) (2026) by Hendra Selamat
Slide 8: Into the sun, I am set to wane (Sunset Industry) (2026) by Hendra Selamat
Slide 9: rights or wrung (2026) by Hendra Selamat itself.

Music by @tammie.lim

Two weeks ago, we hosted an exhibition in collaboration with Corridor Arts Project! Titled, Ma (間) — The Space Between All Things, this group show drew our attention to moments of emptiness in our daily lives – pauses, gaps, absences, omissions, shadows and silences. Sited within a HDB corridor, the works in this exhibition presented themselves as spontaneous encounters, transforming one’s passage through the corridor as a journey where movement, gaze and touch become powerful tools that disrupt banal systems of normative conformity.

This post is intended to provide some documentation of the exhibition, which only existed for a few hours before we took it down and returned the space to the public domain :) Many thanks to @rachlinhy and @awjunming for being such gracious hosts, to @gohchenghao for these wonderful photographs, and to everyone who came down to support us and engage with this project. And of course, to the amazing artists Choy Jia Ying @spaceywrrld , Cavin Lim @cavibo_ and Hendra Selamat @02___hen for being their brilliant, inquisitive and fearless selves.

Please find our catalogue at https://tinyurl.com/thespacebetweenallthings for more information on the exhibition itself.

Works List:
Slide 1-2: open diner (2026) by Hendra Selamat
Slide 3: Family Trip (2026) by Cavin Lim
Slide 4: A Day (2026) and Ang Huey (2026) by Cavin Lim
Slides 5-6: in passing, (2025-ongoing) by Choy Jia Ying
Slide 7: Membawa Bawang (membawang di bawah) (2026) by Hendra Selamat
Slide 8: Into the sun, I am set to wane (Sunset Industry) (2026) by Hendra Selamat
Slide 9: rights or wrung (2026) by Hendra Selamat itself.

Music by @tammie.lim

Two weeks ago, we hosted an exhibition in collaboration with Corridor Arts Project! Titled, Ma (間) — The Space Between All Things, this group show drew our attention to moments of emptiness in our daily lives – pauses, gaps, absences, omissions, shadows and silences. Sited within a HDB corridor, the works in this exhibition presented themselves as spontaneous encounters, transforming one’s passage through the corridor as a journey where movement, gaze and touch become powerful tools that disrupt banal systems of normative conformity.

This post is intended to provide some documentation of the exhibition, which only existed for a few hours before we took it down and returned the space to the public domain :) Many thanks to @rachlinhy and @awjunming for being such gracious hosts, to @gohchenghao for these wonderful photographs, and to everyone who came down to support us and engage with this project. And of course, to the amazing artists Choy Jia Ying @spaceywrrld , Cavin Lim @cavibo_ and Hendra Selamat @02___hen for being their brilliant, inquisitive and fearless selves.

Please find our catalogue at https://tinyurl.com/thespacebetweenallthings for more information on the exhibition itself.

Works List:
Slide 1-2: open diner (2026) by Hendra Selamat
Slide 3: Family Trip (2026) by Cavin Lim
Slide 4: A Day (2026) and Ang Huey (2026) by Cavin Lim
Slides 5-6: in passing, (2025-ongoing) by Choy Jia Ying
Slide 7: Membawa Bawang (membawang di bawah) (2026) by Hendra Selamat
Slide 8: Into the sun, I am set to wane (Sunset Industry) (2026) by Hendra Selamat
Slide 9: rights or wrung (2026) by Hendra Selamat itself.

Music by @tammie.lim

Two weeks ago, we hosted an exhibition in collaboration with Corridor Arts Project! Titled, Ma (間) — The Space Between All Things, this group show drew our attention to moments of emptiness in our daily lives – pauses, gaps, absences, omissions, shadows and silences. Sited within a HDB corridor, the works in this exhibition presented themselves as spontaneous encounters, transforming one’s passage through the corridor as a journey where movement, gaze and touch become powerful tools that disrupt banal systems of normative conformity.

This post is intended to provide some documentation of the exhibition, which only existed for a few hours before we took it down and returned the space to the public domain :) Many thanks to @rachlinhy and @awjunming for being such gracious hosts, to @gohchenghao for these wonderful photographs, and to everyone who came down to support us and engage with this project. And of course, to the amazing artists Choy Jia Ying @spaceywrrld , Cavin Lim @cavibo_ and Hendra Selamat @02___hen for being their brilliant, inquisitive and fearless selves.

Please find our catalogue at https://tinyurl.com/thespacebetweenallthings for more information on the exhibition itself.

Works List:
Slide 1-2: open diner (2026) by Hendra Selamat
Slide 3: Family Trip (2026) by Cavin Lim
Slide 4: A Day (2026) and Ang Huey (2026) by Cavin Lim
Slides 5-6: in passing, (2025-ongoing) by Choy Jia Ying
Slide 7: Membawa Bawang (membawang di bawah) (2026) by Hendra Selamat
Slide 8: Into the sun, I am set to wane (Sunset Industry) (2026) by Hendra Selamat
Slide 9: rights or wrung (2026) by Hendra Selamat itself.

Music by @tammie.lim

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

𝔱𝔥𝔢 𝔥𝔬𝔩𝔶 𝔰𝔥𝔱𝔦𝔠𝔨
the holy shtick

A personal guidebook ventured into exploring the affect and body politics of queerness;
in being queer and denoting ways to queer.

by Hendra Selamat @02___hen

Presented at Singapore Art Book Fair 2025
and will also be brought to KL Art Book Fair 2025 @klartbookfair

“𝘿𝙖𝙛𝙩𝙖𝙧𝙖𝙣” (Malay for “registry”) as titled in the artwork installations by 𝗛𝗲𝗻𝗱𝗿𝗮 𝗦𝗲𝗹𝗮𝗺𝗮𝘁, becomes a generative point of tension, tracing colonial legacies of categorization, war-time enlistment, and the domestic policing of bodies. Fogging, a recurring element in this installation, conjures the haze of memory and trauma: breath held in fear, atmospheres thickened with threat, and perception blurred by condensation of the past and present. In this obscuring, the stories of home are told through omission.

As shown in his installation, the cane appears zealously within the nuclear home. Prized, resilient, and holy; it is rightful to a seat. And where it waits to be yielded, it also rests in its memory of use. Its status, almighty and revered, maintained through its necessity contended by generational fallow and often by State power. A straight object that demands curvature; the cane bends not just in form, but in trajectory. Upon impact, the bodily surface ripples. The culmination of a social body then splits and superimposes, revealing traces of objects that come out of the body. From these impacts emerge traces: in affective residues, unregistered trauma, and objects that exit the body only to haunt it later.

Pushing the possibilities of printmaking, namely in image transfers, and now in objecthood, Hendra Selamat is currently experimenting with the utility of [found] objects for installation works, identifying narratives to communicate notions of time and space, and to identify queerness that lie in-between; in proximity; in parallel lines that do not meet, but do.
____
𝗙𝗿𝗼𝗺 𝗣𝗮𝗹𝗮𝗶𝘀 𝘁𝗼 𝗣𝘂𝗹𝗮𝘂: 𝗥𝗲𝘁𝗵𝗶𝗻𝗸𝗶𝗻𝗴 ‘𝙃𝙤𝙢𝙚’ 𝗮𝗻𝗱 ‘𝙊𝙙𝙙𝙞𝙩𝙞𝙚𝙨’ (𝙿𝚎𝚗𝚊𝚗𝚐 𝙴𝚍𝚒𝚝𝚒𝚘𝚗)

6 June - 13 July, 2025
Presented by Critical Craft Collective in collaboration with Hin Bus Depot.

Hin Bus Depot Exhibition Space
12pm - 7pm 𝘞𝘦𝘦𝘬𝘥𝘢𝘺𝘴
11am - 7pm 𝘞𝘦𝘦𝘬𝘦𝘯𝘥𝘴

#FromPalaisToPulau #hinbusdepot

“𝘿𝙖𝙛𝙩𝙖𝙧𝙖𝙣” (Malay for “registry”) as titled in the artwork installations by 𝗛𝗲𝗻𝗱𝗿𝗮 𝗦𝗲𝗹𝗮𝗺𝗮𝘁, becomes a generative point of tension, tracing colonial legacies of categorization, war-time enlistment, and the domestic policing of bodies. Fogging, a recurring element in this installation, conjures the haze of memory and trauma: breath held in fear, atmospheres thickened with threat, and perception blurred by condensation of the past and present. In this obscuring, the stories of home are told through omission.

As shown in his installation, the cane appears zealously within the nuclear home. Prized, resilient, and holy; it is rightful to a seat. And where it waits to be yielded, it also rests in its memory of use. Its status, almighty and revered, maintained through its necessity contended by generational fallow and often by State power. A straight object that demands curvature; the cane bends not just in form, but in trajectory. Upon impact, the bodily surface ripples. The culmination of a social body then splits and superimposes, revealing traces of objects that come out of the body. From these impacts emerge traces: in affective residues, unregistered trauma, and objects that exit the body only to haunt it later.

Pushing the possibilities of printmaking, namely in image transfers, and now in objecthood, Hendra Selamat is currently experimenting with the utility of [found] objects for installation works, identifying narratives to communicate notions of time and space, and to identify queerness that lie in-between; in proximity; in parallel lines that do not meet, but do.
____
𝗙𝗿𝗼𝗺 𝗣𝗮𝗹𝗮𝗶𝘀 𝘁𝗼 𝗣𝘂𝗹𝗮𝘂: 𝗥𝗲𝘁𝗵𝗶𝗻𝗸𝗶𝗻𝗴 ‘𝙃𝙤𝙢𝙚’ 𝗮𝗻𝗱 ‘𝙊𝙙𝙙𝙞𝙩𝙞𝙚𝙨’ (𝙿𝚎𝚗𝚊𝚗𝚐 𝙴𝚍𝚒𝚝𝚒𝚘𝚗)

6 June - 13 July, 2025
Presented by Critical Craft Collective in collaboration with Hin Bus Depot.

Hin Bus Depot Exhibition Space
12pm - 7pm 𝘞𝘦𝘦𝘬𝘥𝘢𝘺𝘴
11am - 7pm 𝘞𝘦𝘦𝘬𝘦𝘯𝘥𝘴

#FromPalaisToPulau #hinbusdepot

“𝘿𝙖𝙛𝙩𝙖𝙧𝙖𝙣” (Malay for “registry”) as titled in the artwork installations by 𝗛𝗲𝗻𝗱𝗿𝗮 𝗦𝗲𝗹𝗮𝗺𝗮𝘁, becomes a generative point of tension, tracing colonial legacies of categorization, war-time enlistment, and the domestic policing of bodies. Fogging, a recurring element in this installation, conjures the haze of memory and trauma: breath held in fear, atmospheres thickened with threat, and perception blurred by condensation of the past and present. In this obscuring, the stories of home are told through omission.

As shown in his installation, the cane appears zealously within the nuclear home. Prized, resilient, and holy; it is rightful to a seat. And where it waits to be yielded, it also rests in its memory of use. Its status, almighty and revered, maintained through its necessity contended by generational fallow and often by State power. A straight object that demands curvature; the cane bends not just in form, but in trajectory. Upon impact, the bodily surface ripples. The culmination of a social body then splits and superimposes, revealing traces of objects that come out of the body. From these impacts emerge traces: in affective residues, unregistered trauma, and objects that exit the body only to haunt it later.

Pushing the possibilities of printmaking, namely in image transfers, and now in objecthood, Hendra Selamat is currently experimenting with the utility of [found] objects for installation works, identifying narratives to communicate notions of time and space, and to identify queerness that lie in-between; in proximity; in parallel lines that do not meet, but do.
____
𝗙𝗿𝗼𝗺 𝗣𝗮𝗹𝗮𝗶𝘀 𝘁𝗼 𝗣𝘂𝗹𝗮𝘂: 𝗥𝗲𝘁𝗵𝗶𝗻𝗸𝗶𝗻𝗴 ‘𝙃𝙤𝙢𝙚’ 𝗮𝗻𝗱 ‘𝙊𝙙𝙙𝙞𝙩𝙞𝙚𝙨’ (𝙿𝚎𝚗𝚊𝚗𝚐 𝙴𝚍𝚒𝚝𝚒𝚘𝚗)

6 June - 13 July, 2025
Presented by Critical Craft Collective in collaboration with Hin Bus Depot.

Hin Bus Depot Exhibition Space
12pm - 7pm 𝘞𝘦𝘦𝘬𝘥𝘢𝘺𝘴
11am - 7pm 𝘞𝘦𝘦𝘬𝘦𝘯𝘥𝘴

#FromPalaisToPulau #hinbusdepot

“𝘿𝙖𝙛𝙩𝙖𝙧𝙖𝙣” (Malay for “registry”) as titled in the artwork installations by 𝗛𝗲𝗻𝗱𝗿𝗮 𝗦𝗲𝗹𝗮𝗺𝗮𝘁, becomes a generative point of tension, tracing colonial legacies of categorization, war-time enlistment, and the domestic policing of bodies. Fogging, a recurring element in this installation, conjures the haze of memory and trauma: breath held in fear, atmospheres thickened with threat, and perception blurred by condensation of the past and present. In this obscuring, the stories of home are told through omission.

As shown in his installation, the cane appears zealously within the nuclear home. Prized, resilient, and holy; it is rightful to a seat. And where it waits to be yielded, it also rests in its memory of use. Its status, almighty and revered, maintained through its necessity contended by generational fallow and often by State power. A straight object that demands curvature; the cane bends not just in form, but in trajectory. Upon impact, the bodily surface ripples. The culmination of a social body then splits and superimposes, revealing traces of objects that come out of the body. From these impacts emerge traces: in affective residues, unregistered trauma, and objects that exit the body only to haunt it later.

Pushing the possibilities of printmaking, namely in image transfers, and now in objecthood, Hendra Selamat is currently experimenting with the utility of [found] objects for installation works, identifying narratives to communicate notions of time and space, and to identify queerness that lie in-between; in proximity; in parallel lines that do not meet, but do.
____
𝗙𝗿𝗼𝗺 𝗣𝗮𝗹𝗮𝗶𝘀 𝘁𝗼 𝗣𝘂𝗹𝗮𝘂: 𝗥𝗲𝘁𝗵𝗶𝗻𝗸𝗶𝗻𝗴 ‘𝙃𝙤𝙢𝙚’ 𝗮𝗻𝗱 ‘𝙊𝙙𝙙𝙞𝙩𝙞𝙚𝙨’ (𝙿𝚎𝚗𝚊𝚗𝚐 𝙴𝚍𝚒𝚝𝚒𝚘𝚗)

6 June - 13 July, 2025
Presented by Critical Craft Collective in collaboration with Hin Bus Depot.

Hin Bus Depot Exhibition Space
12pm - 7pm 𝘞𝘦𝘦𝘬𝘥𝘢𝘺𝘴
11am - 7pm 𝘞𝘦𝘦𝘬𝘦𝘯𝘥𝘴

#FromPalaisToPulau #hinbusdepot

“𝘿𝙖𝙛𝙩𝙖𝙧𝙖𝙣” (Malay for “registry”) as titled in the artwork installations by 𝗛𝗲𝗻𝗱𝗿𝗮 𝗦𝗲𝗹𝗮𝗺𝗮𝘁, becomes a generative point of tension, tracing colonial legacies of categorization, war-time enlistment, and the domestic policing of bodies. Fogging, a recurring element in this installation, conjures the haze of memory and trauma: breath held in fear, atmospheres thickened with threat, and perception blurred by condensation of the past and present. In this obscuring, the stories of home are told through omission.

As shown in his installation, the cane appears zealously within the nuclear home. Prized, resilient, and holy; it is rightful to a seat. And where it waits to be yielded, it also rests in its memory of use. Its status, almighty and revered, maintained through its necessity contended by generational fallow and often by State power. A straight object that demands curvature; the cane bends not just in form, but in trajectory. Upon impact, the bodily surface ripples. The culmination of a social body then splits and superimposes, revealing traces of objects that come out of the body. From these impacts emerge traces: in affective residues, unregistered trauma, and objects that exit the body only to haunt it later.

Pushing the possibilities of printmaking, namely in image transfers, and now in objecthood, Hendra Selamat is currently experimenting with the utility of [found] objects for installation works, identifying narratives to communicate notions of time and space, and to identify queerness that lie in-between; in proximity; in parallel lines that do not meet, but do.
____
𝗙𝗿𝗼𝗺 𝗣𝗮𝗹𝗮𝗶𝘀 𝘁𝗼 𝗣𝘂𝗹𝗮𝘂: 𝗥𝗲𝘁𝗵𝗶𝗻𝗸𝗶𝗻𝗴 ‘𝙃𝙤𝙢𝙚’ 𝗮𝗻𝗱 ‘𝙊𝙙𝙙𝙞𝙩𝙞𝙚𝙨’ (𝙿𝚎𝚗𝚊𝚗𝚐 𝙴𝚍𝚒𝚝𝚒𝚘𝚗)

6 June - 13 July, 2025
Presented by Critical Craft Collective in collaboration with Hin Bus Depot.

Hin Bus Depot Exhibition Space
12pm - 7pm 𝘞𝘦𝘦𝘬𝘥𝘢𝘺𝘴
11am - 7pm 𝘞𝘦𝘦𝘬𝘦𝘯𝘥𝘴

#FromPalaisToPulau #hinbusdepot

“𝘿𝙖𝙛𝙩𝙖𝙧𝙖𝙣” (Malay for “registry”) as titled in the artwork installations by 𝗛𝗲𝗻𝗱𝗿𝗮 𝗦𝗲𝗹𝗮𝗺𝗮𝘁, becomes a generative point of tension, tracing colonial legacies of categorization, war-time enlistment, and the domestic policing of bodies. Fogging, a recurring element in this installation, conjures the haze of memory and trauma: breath held in fear, atmospheres thickened with threat, and perception blurred by condensation of the past and present. In this obscuring, the stories of home are told through omission.

As shown in his installation, the cane appears zealously within the nuclear home. Prized, resilient, and holy; it is rightful to a seat. And where it waits to be yielded, it also rests in its memory of use. Its status, almighty and revered, maintained through its necessity contended by generational fallow and often by State power. A straight object that demands curvature; the cane bends not just in form, but in trajectory. Upon impact, the bodily surface ripples. The culmination of a social body then splits and superimposes, revealing traces of objects that come out of the body. From these impacts emerge traces: in affective residues, unregistered trauma, and objects that exit the body only to haunt it later.

Pushing the possibilities of printmaking, namely in image transfers, and now in objecthood, Hendra Selamat is currently experimenting with the utility of [found] objects for installation works, identifying narratives to communicate notions of time and space, and to identify queerness that lie in-between; in proximity; in parallel lines that do not meet, but do.
____
𝗙𝗿𝗼𝗺 𝗣𝗮𝗹𝗮𝗶𝘀 𝘁𝗼 𝗣𝘂𝗹𝗮𝘂: 𝗥𝗲𝘁𝗵𝗶𝗻𝗸𝗶𝗻𝗴 ‘𝙃𝙤𝙢𝙚’ 𝗮𝗻𝗱 ‘𝙊𝙙𝙙𝙞𝙩𝙞𝙚𝙨’ (𝙿𝚎𝚗𝚊𝚗𝚐 𝙴𝚍𝚒𝚝𝚒𝚘𝚗)

6 June - 13 July, 2025
Presented by Critical Craft Collective in collaboration with Hin Bus Depot.

Hin Bus Depot Exhibition Space
12pm - 7pm 𝘞𝘦𝘦𝘬𝘥𝘢𝘺𝘴
11am - 7pm 𝘞𝘦𝘦𝘬𝘦𝘯𝘥𝘴

#FromPalaisToPulau #hinbusdepot

“𝘿𝙖𝙛𝙩𝙖𝙧𝙖𝙣” (Malay for “registry”) as titled in the artwork installations by 𝗛𝗲𝗻𝗱𝗿𝗮 𝗦𝗲𝗹𝗮𝗺𝗮𝘁, becomes a generative point of tension, tracing colonial legacies of categorization, war-time enlistment, and the domestic policing of bodies. Fogging, a recurring element in this installation, conjures the haze of memory and trauma: breath held in fear, atmospheres thickened with threat, and perception blurred by condensation of the past and present. In this obscuring, the stories of home are told through omission.

As shown in his installation, the cane appears zealously within the nuclear home. Prized, resilient, and holy; it is rightful to a seat. And where it waits to be yielded, it also rests in its memory of use. Its status, almighty and revered, maintained through its necessity contended by generational fallow and often by State power. A straight object that demands curvature; the cane bends not just in form, but in trajectory. Upon impact, the bodily surface ripples. The culmination of a social body then splits and superimposes, revealing traces of objects that come out of the body. From these impacts emerge traces: in affective residues, unregistered trauma, and objects that exit the body only to haunt it later.

Pushing the possibilities of printmaking, namely in image transfers, and now in objecthood, Hendra Selamat is currently experimenting with the utility of [found] objects for installation works, identifying narratives to communicate notions of time and space, and to identify queerness that lie in-between; in proximity; in parallel lines that do not meet, but do.
____
𝗙𝗿𝗼𝗺 𝗣𝗮𝗹𝗮𝗶𝘀 𝘁𝗼 𝗣𝘂𝗹𝗮𝘂: 𝗥𝗲𝘁𝗵𝗶𝗻𝗸𝗶𝗻𝗴 ‘𝙃𝙤𝙢𝙚’ 𝗮𝗻𝗱 ‘𝙊𝙙𝙙𝙞𝙩𝙞𝙚𝙨’ (𝙿𝚎𝚗𝚊𝚗𝚐 𝙴𝚍𝚒𝚝𝚒𝚘𝚗)

6 June - 13 July, 2025
Presented by Critical Craft Collective in collaboration with Hin Bus Depot.

Hin Bus Depot Exhibition Space
12pm - 7pm 𝘞𝘦𝘦𝘬𝘥𝘢𝘺𝘴
11am - 7pm 𝘞𝘦𝘦𝘬𝘦𝘯𝘥𝘴

#FromPalaisToPulau #hinbusdepot

“𝘿𝙖𝙛𝙩𝙖𝙧𝙖𝙣” (Malay for “registry”) as titled in the artwork installations by 𝗛𝗲𝗻𝗱𝗿𝗮 𝗦𝗲𝗹𝗮𝗺𝗮𝘁, becomes a generative point of tension, tracing colonial legacies of categorization, war-time enlistment, and the domestic policing of bodies. Fogging, a recurring element in this installation, conjures the haze of memory and trauma: breath held in fear, atmospheres thickened with threat, and perception blurred by condensation of the past and present. In this obscuring, the stories of home are told through omission.

As shown in his installation, the cane appears zealously within the nuclear home. Prized, resilient, and holy; it is rightful to a seat. And where it waits to be yielded, it also rests in its memory of use. Its status, almighty and revered, maintained through its necessity contended by generational fallow and often by State power. A straight object that demands curvature; the cane bends not just in form, but in trajectory. Upon impact, the bodily surface ripples. The culmination of a social body then splits and superimposes, revealing traces of objects that come out of the body. From these impacts emerge traces: in affective residues, unregistered trauma, and objects that exit the body only to haunt it later.

Pushing the possibilities of printmaking, namely in image transfers, and now in objecthood, Hendra Selamat is currently experimenting with the utility of [found] objects for installation works, identifying narratives to communicate notions of time and space, and to identify queerness that lie in-between; in proximity; in parallel lines that do not meet, but do.
____
𝗙𝗿𝗼𝗺 𝗣𝗮𝗹𝗮𝗶𝘀 𝘁𝗼 𝗣𝘂𝗹𝗮𝘂: 𝗥𝗲𝘁𝗵𝗶𝗻𝗸𝗶𝗻𝗴 ‘𝙃𝙤𝙢𝙚’ 𝗮𝗻𝗱 ‘𝙊𝙙𝙙𝙞𝙩𝙞𝙚𝙨’ (𝙿𝚎𝚗𝚊𝚗𝚐 𝙴𝚍𝚒𝚝𝚒𝚘𝚗)

6 June - 13 July, 2025
Presented by Critical Craft Collective in collaboration with Hin Bus Depot.

Hin Bus Depot Exhibition Space
12pm - 7pm 𝘞𝘦𝘦𝘬𝘥𝘢𝘺𝘴
11am - 7pm 𝘞𝘦𝘦𝘬𝘦𝘯𝘥𝘴

#FromPalaisToPulau #hinbusdepot

“𝘿𝙖𝙛𝙩𝙖𝙧𝙖𝙣” (Malay for “registry”) as titled in the artwork installations by 𝗛𝗲𝗻𝗱𝗿𝗮 𝗦𝗲𝗹𝗮𝗺𝗮𝘁, becomes a generative point of tension, tracing colonial legacies of categorization, war-time enlistment, and the domestic policing of bodies. Fogging, a recurring element in this installation, conjures the haze of memory and trauma: breath held in fear, atmospheres thickened with threat, and perception blurred by condensation of the past and present. In this obscuring, the stories of home are told through omission.

As shown in his installation, the cane appears zealously within the nuclear home. Prized, resilient, and holy; it is rightful to a seat. And where it waits to be yielded, it also rests in its memory of use. Its status, almighty and revered, maintained through its necessity contended by generational fallow and often by State power. A straight object that demands curvature; the cane bends not just in form, but in trajectory. Upon impact, the bodily surface ripples. The culmination of a social body then splits and superimposes, revealing traces of objects that come out of the body. From these impacts emerge traces: in affective residues, unregistered trauma, and objects that exit the body only to haunt it later.

Pushing the possibilities of printmaking, namely in image transfers, and now in objecthood, Hendra Selamat is currently experimenting with the utility of [found] objects for installation works, identifying narratives to communicate notions of time and space, and to identify queerness that lie in-between; in proximity; in parallel lines that do not meet, but do.
____
𝗙𝗿𝗼𝗺 𝗣𝗮𝗹𝗮𝗶𝘀 𝘁𝗼 𝗣𝘂𝗹𝗮𝘂: 𝗥𝗲𝘁𝗵𝗶𝗻𝗸𝗶𝗻𝗴 ‘𝙃𝙤𝙢𝙚’ 𝗮𝗻𝗱 ‘𝙊𝙙𝙙𝙞𝙩𝙞𝙚𝙨’ (𝙿𝚎𝚗𝚊𝚗𝚐 𝙴𝚍𝚒𝚝𝚒𝚘𝚗)

6 June - 13 July, 2025
Presented by Critical Craft Collective in collaboration with Hin Bus Depot.

Hin Bus Depot Exhibition Space
12pm - 7pm 𝘞𝘦𝘦𝘬𝘥𝘢𝘺𝘴
11am - 7pm 𝘞𝘦𝘦𝘬𝘦𝘯𝘥𝘴

#FromPalaisToPulau #hinbusdepot

“𝘿𝙖𝙛𝙩𝙖𝙧𝙖𝙣” (Malay for “registry”) as titled in the artwork installations by 𝗛𝗲𝗻𝗱𝗿𝗮 𝗦𝗲𝗹𝗮𝗺𝗮𝘁, becomes a generative point of tension, tracing colonial legacies of categorization, war-time enlistment, and the domestic policing of bodies. Fogging, a recurring element in this installation, conjures the haze of memory and trauma: breath held in fear, atmospheres thickened with threat, and perception blurred by condensation of the past and present. In this obscuring, the stories of home are told through omission.

As shown in his installation, the cane appears zealously within the nuclear home. Prized, resilient, and holy; it is rightful to a seat. And where it waits to be yielded, it also rests in its memory of use. Its status, almighty and revered, maintained through its necessity contended by generational fallow and often by State power. A straight object that demands curvature; the cane bends not just in form, but in trajectory. Upon impact, the bodily surface ripples. The culmination of a social body then splits and superimposes, revealing traces of objects that come out of the body. From these impacts emerge traces: in affective residues, unregistered trauma, and objects that exit the body only to haunt it later.

Pushing the possibilities of printmaking, namely in image transfers, and now in objecthood, Hendra Selamat is currently experimenting with the utility of [found] objects for installation works, identifying narratives to communicate notions of time and space, and to identify queerness that lie in-between; in proximity; in parallel lines that do not meet, but do.
____
𝗙𝗿𝗼𝗺 𝗣𝗮𝗹𝗮𝗶𝘀 𝘁𝗼 𝗣𝘂𝗹𝗮𝘂: 𝗥𝗲𝘁𝗵𝗶𝗻𝗸𝗶𝗻𝗴 ‘𝙃𝙤𝙢𝙚’ 𝗮𝗻𝗱 ‘𝙊𝙙𝙙𝙞𝙩𝙞𝙚𝙨’ (𝙿𝚎𝚗𝚊𝚗𝚐 𝙴𝚍𝚒𝚝𝚒𝚘𝚗)

6 June - 13 July, 2025
Presented by Critical Craft Collective in collaboration with Hin Bus Depot.

Hin Bus Depot Exhibition Space
12pm - 7pm 𝘞𝘦𝘦𝘬𝘥𝘢𝘺𝘴
11am - 7pm 𝘞𝘦𝘦𝘬𝘦𝘯𝘥𝘴

#FromPalaisToPulau #hinbusdepot

“𝘿𝙖𝙛𝙩𝙖𝙧𝙖𝙣” (Malay for “registry”) as titled in the artwork installations by 𝗛𝗲𝗻𝗱𝗿𝗮 𝗦𝗲𝗹𝗮𝗺𝗮𝘁, becomes a generative point of tension, tracing colonial legacies of categorization, war-time enlistment, and the domestic policing of bodies. Fogging, a recurring element in this installation, conjures the haze of memory and trauma: breath held in fear, atmospheres thickened with threat, and perception blurred by condensation of the past and present. In this obscuring, the stories of home are told through omission.

As shown in his installation, the cane appears zealously within the nuclear home. Prized, resilient, and holy; it is rightful to a seat. And where it waits to be yielded, it also rests in its memory of use. Its status, almighty and revered, maintained through its necessity contended by generational fallow and often by State power. A straight object that demands curvature; the cane bends not just in form, but in trajectory. Upon impact, the bodily surface ripples. The culmination of a social body then splits and superimposes, revealing traces of objects that come out of the body. From these impacts emerge traces: in affective residues, unregistered trauma, and objects that exit the body only to haunt it later.

Pushing the possibilities of printmaking, namely in image transfers, and now in objecthood, Hendra Selamat is currently experimenting with the utility of [found] objects for installation works, identifying narratives to communicate notions of time and space, and to identify queerness that lie in-between; in proximity; in parallel lines that do not meet, but do.
____
𝗙𝗿𝗼𝗺 𝗣𝗮𝗹𝗮𝗶𝘀 𝘁𝗼 𝗣𝘂𝗹𝗮𝘂: 𝗥𝗲𝘁𝗵𝗶𝗻𝗸𝗶𝗻𝗴 ‘𝙃𝙤𝙢𝙚’ 𝗮𝗻𝗱 ‘𝙊𝙙𝙙𝙞𝙩𝙞𝙚𝙨’ (𝙿𝚎𝚗𝚊𝚗𝚐 𝙴𝚍𝚒𝚝𝚒𝚘𝚗)

6 June - 13 July, 2025
Presented by Critical Craft Collective in collaboration with Hin Bus Depot.

Hin Bus Depot Exhibition Space
12pm - 7pm 𝘞𝘦𝘦𝘬𝘥𝘢𝘺𝘴
11am - 7pm 𝘞𝘦𝘦𝘬𝘦𝘯𝘥𝘴

#FromPalaisToPulau #hinbusdepot

𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮 traces the dislocation and transplantation of works and ideas from Singapore to Penang, as these three artists engage with the space not only as a site of presentation but also as a locus of reflection and change. Their practices respond to what was, both materially and metaphorically, allowing fragments of the past to resurface within the present.

Emerging from remains and residues, each work dialogues with objects, places, and fleeting moments in time. Through gestures of reconstruction and speculative thought, the installations attempt to retrieve and reframe what might have been overlooked or left unsaid, thereby reconfiguring the spatial and emotional contours of the room and its contents.

From documentations of 𝘗𝘦𝘬𝘢𝘯 𝘕𝘢𝘯𝘢𝘴 to imagined architectures of liminal bodies and tables, to windows that fracture and frame time, 𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮 opens up a layered field of impressions, of memory, displacement, and possibility. It lingers in the tensions between what was and what could be, permitting residues of the past to echo through the present, subtly haunting, shaping, and animating the space.
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𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮
𝚊𝚗 𝚘𝚙𝚎𝚗 𝚜𝚝𝚞𝚍𝚒𝚘 𝚋𝚢 𝙰𝚛𝚞𝚗𝚍𝚑𝚊𝚝𝚒 𝙺𝚊𝚛𝚝𝚒𝚔, 𝚆𝚊𝚗𝚐 𝚇𝚒 𝙹𝚒𝚎 𝚊𝚗𝚍 𝙷𝚎𝚗𝚍𝚛𝚊 𝚂𝚎𝚕𝚊𝚖𝚊𝚝
13 June - 13 July 2025

Opening weekend:
13-15 June 2025 (5pm-7pm)

Hin Residency Space, Hin Bus Depot on 41, Jalan Kampung Jawa Lama
𝘎𝘰𝘰𝘨𝘭𝘦 𝘔𝘢𝘱𝘴: 5.412165, 100.327164

*Visits on other days by appointment only. Drop us a message on Instagram to schedule your viewing appointment.

#hinbusdepot

𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮 traces the dislocation and transplantation of works and ideas from Singapore to Penang, as these three artists engage with the space not only as a site of presentation but also as a locus of reflection and change. Their practices respond to what was, both materially and metaphorically, allowing fragments of the past to resurface within the present.

Emerging from remains and residues, each work dialogues with objects, places, and fleeting moments in time. Through gestures of reconstruction and speculative thought, the installations attempt to retrieve and reframe what might have been overlooked or left unsaid, thereby reconfiguring the spatial and emotional contours of the room and its contents.

From documentations of 𝘗𝘦𝘬𝘢𝘯 𝘕𝘢𝘯𝘢𝘴 to imagined architectures of liminal bodies and tables, to windows that fracture and frame time, 𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮 opens up a layered field of impressions, of memory, displacement, and possibility. It lingers in the tensions between what was and what could be, permitting residues of the past to echo through the present, subtly haunting, shaping, and animating the space.
____
𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮
𝚊𝚗 𝚘𝚙𝚎𝚗 𝚜𝚝𝚞𝚍𝚒𝚘 𝚋𝚢 𝙰𝚛𝚞𝚗𝚍𝚑𝚊𝚝𝚒 𝙺𝚊𝚛𝚝𝚒𝚔, 𝚆𝚊𝚗𝚐 𝚇𝚒 𝙹𝚒𝚎 𝚊𝚗𝚍 𝙷𝚎𝚗𝚍𝚛𝚊 𝚂𝚎𝚕𝚊𝚖𝚊𝚝
13 June - 13 July 2025

Opening weekend:
13-15 June 2025 (5pm-7pm)

Hin Residency Space, Hin Bus Depot on 41, Jalan Kampung Jawa Lama
𝘎𝘰𝘰𝘨𝘭𝘦 𝘔𝘢𝘱𝘴: 5.412165, 100.327164

*Visits on other days by appointment only. Drop us a message on Instagram to schedule your viewing appointment.

#hinbusdepot

𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮 traces the dislocation and transplantation of works and ideas from Singapore to Penang, as these three artists engage with the space not only as a site of presentation but also as a locus of reflection and change. Their practices respond to what was, both materially and metaphorically, allowing fragments of the past to resurface within the present.

Emerging from remains and residues, each work dialogues with objects, places, and fleeting moments in time. Through gestures of reconstruction and speculative thought, the installations attempt to retrieve and reframe what might have been overlooked or left unsaid, thereby reconfiguring the spatial and emotional contours of the room and its contents.

From documentations of 𝘗𝘦𝘬𝘢𝘯 𝘕𝘢𝘯𝘢𝘴 to imagined architectures of liminal bodies and tables, to windows that fracture and frame time, 𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮 opens up a layered field of impressions, of memory, displacement, and possibility. It lingers in the tensions between what was and what could be, permitting residues of the past to echo through the present, subtly haunting, shaping, and animating the space.
____
𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮
𝚊𝚗 𝚘𝚙𝚎𝚗 𝚜𝚝𝚞𝚍𝚒𝚘 𝚋𝚢 𝙰𝚛𝚞𝚗𝚍𝚑𝚊𝚝𝚒 𝙺𝚊𝚛𝚝𝚒𝚔, 𝚆𝚊𝚗𝚐 𝚇𝚒 𝙹𝚒𝚎 𝚊𝚗𝚍 𝙷𝚎𝚗𝚍𝚛𝚊 𝚂𝚎𝚕𝚊𝚖𝚊𝚝
13 June - 13 July 2025

Opening weekend:
13-15 June 2025 (5pm-7pm)

Hin Residency Space, Hin Bus Depot on 41, Jalan Kampung Jawa Lama
𝘎𝘰𝘰𝘨𝘭𝘦 𝘔𝘢𝘱𝘴: 5.412165, 100.327164

*Visits on other days by appointment only. Drop us a message on Instagram to schedule your viewing appointment.

#hinbusdepot

𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮 traces the dislocation and transplantation of works and ideas from Singapore to Penang, as these three artists engage with the space not only as a site of presentation but also as a locus of reflection and change. Their practices respond to what was, both materially and metaphorically, allowing fragments of the past to resurface within the present.

Emerging from remains and residues, each work dialogues with objects, places, and fleeting moments in time. Through gestures of reconstruction and speculative thought, the installations attempt to retrieve and reframe what might have been overlooked or left unsaid, thereby reconfiguring the spatial and emotional contours of the room and its contents.

From documentations of 𝘗𝘦𝘬𝘢𝘯 𝘕𝘢𝘯𝘢𝘴 to imagined architectures of liminal bodies and tables, to windows that fracture and frame time, 𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮 opens up a layered field of impressions, of memory, displacement, and possibility. It lingers in the tensions between what was and what could be, permitting residues of the past to echo through the present, subtly haunting, shaping, and animating the space.
____
𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮
𝚊𝚗 𝚘𝚙𝚎𝚗 𝚜𝚝𝚞𝚍𝚒𝚘 𝚋𝚢 𝙰𝚛𝚞𝚗𝚍𝚑𝚊𝚝𝚒 𝙺𝚊𝚛𝚝𝚒𝚔, 𝚆𝚊𝚗𝚐 𝚇𝚒 𝙹𝚒𝚎 𝚊𝚗𝚍 𝙷𝚎𝚗𝚍𝚛𝚊 𝚂𝚎𝚕𝚊𝚖𝚊𝚝
13 June - 13 July 2025

Opening weekend:
13-15 June 2025 (5pm-7pm)

Hin Residency Space, Hin Bus Depot on 41, Jalan Kampung Jawa Lama
𝘎𝘰𝘰𝘨𝘭𝘦 𝘔𝘢𝘱𝘴: 5.412165, 100.327164

*Visits on other days by appointment only. Drop us a message on Instagram to schedule your viewing appointment.

#hinbusdepot

𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮 traces the dislocation and transplantation of works and ideas from Singapore to Penang, as these three artists engage with the space not only as a site of presentation but also as a locus of reflection and change. Their practices respond to what was, both materially and metaphorically, allowing fragments of the past to resurface within the present.

Emerging from remains and residues, each work dialogues with objects, places, and fleeting moments in time. Through gestures of reconstruction and speculative thought, the installations attempt to retrieve and reframe what might have been overlooked or left unsaid, thereby reconfiguring the spatial and emotional contours of the room and its contents.

From documentations of 𝘗𝘦𝘬𝘢𝘯 𝘕𝘢𝘯𝘢𝘴 to imagined architectures of liminal bodies and tables, to windows that fracture and frame time, 𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮 opens up a layered field of impressions, of memory, displacement, and possibility. It lingers in the tensions between what was and what could be, permitting residues of the past to echo through the present, subtly haunting, shaping, and animating the space.
____
𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮
𝚊𝚗 𝚘𝚙𝚎𝚗 𝚜𝚝𝚞𝚍𝚒𝚘 𝚋𝚢 𝙰𝚛𝚞𝚗𝚍𝚑𝚊𝚝𝚒 𝙺𝚊𝚛𝚝𝚒𝚔, 𝚆𝚊𝚗𝚐 𝚇𝚒 𝙹𝚒𝚎 𝚊𝚗𝚍 𝙷𝚎𝚗𝚍𝚛𝚊 𝚂𝚎𝚕𝚊𝚖𝚊𝚝
13 June - 13 July 2025

Opening weekend:
13-15 June 2025 (5pm-7pm)

Hin Residency Space, Hin Bus Depot on 41, Jalan Kampung Jawa Lama
𝘎𝘰𝘰𝘨𝘭𝘦 𝘔𝘢𝘱𝘴: 5.412165, 100.327164

*Visits on other days by appointment only. Drop us a message on Instagram to schedule your viewing appointment.

#hinbusdepot

𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮 traces the dislocation and transplantation of works and ideas from Singapore to Penang, as these three artists engage with the space not only as a site of presentation but also as a locus of reflection and change. Their practices respond to what was, both materially and metaphorically, allowing fragments of the past to resurface within the present.

Emerging from remains and residues, each work dialogues with objects, places, and fleeting moments in time. Through gestures of reconstruction and speculative thought, the installations attempt to retrieve and reframe what might have been overlooked or left unsaid, thereby reconfiguring the spatial and emotional contours of the room and its contents.

From documentations of 𝘗𝘦𝘬𝘢𝘯 𝘕𝘢𝘯𝘢𝘴 to imagined architectures of liminal bodies and tables, to windows that fracture and frame time, 𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮 opens up a layered field of impressions, of memory, displacement, and possibility. It lingers in the tensions between what was and what could be, permitting residues of the past to echo through the present, subtly haunting, shaping, and animating the space.
____
𝙧𝙚𝙨𝙞𝙙𝙪𝙚𝙨: 𝙝𝙞𝙣𝙜𝙞𝙣𝙜 𝙤𝙣 𝙢𝙮 𝙞𝙣𝙨𝙖𝙣𝙞𝙩𝙮
𝚊𝚗 𝚘𝚙𝚎𝚗 𝚜𝚝𝚞𝚍𝚒𝚘 𝚋𝚢 𝙰𝚛𝚞𝚗𝚍𝚑𝚊𝚝𝚒 𝙺𝚊𝚛𝚝𝚒𝚔, 𝚆𝚊𝚗𝚐 𝚇𝚒 𝙹𝚒𝚎 𝚊𝚗𝚍 𝙷𝚎𝚗𝚍𝚛𝚊 𝚂𝚎𝚕𝚊𝚖𝚊𝚝
13 June - 13 July 2025

Opening weekend:
13-15 June 2025 (5pm-7pm)

Hin Residency Space, Hin Bus Depot on 41, Jalan Kampung Jawa Lama
𝘎𝘰𝘰𝘨𝘭𝘦 𝘔𝘢𝘱𝘴: 5.412165, 100.327164

*Visits on other days by appointment only. Drop us a message on Instagram to schedule your viewing appointment.

#hinbusdepot

2D Module, painting. Given the option, i would swallow needles than to paint. Going into fine art again, i was hellaaaa intimidated after finding out we would be introduced to oil painting. I havent painted constructively in my life, & i had never touched oil painting before

2D Module, painting. Given the option, i would swallow needles than to paint. Going into fine art again, i was hellaaaa intimidated after finding out we would be introduced to oil painting. I havent painted constructively in my life, & i had never touched oil painting before

2D Module, painting. Given the option, i would swallow needles than to paint. Going into fine art again, i was hellaaaa intimidated after finding out we would be introduced to oil painting. I havent painted constructively in my life, & i had never touched oil painting before

2D Module, painting. Given the option, i would swallow needles than to paint. Going into fine art again, i was hellaaaa intimidated after finding out we would be introduced to oil painting. I havent painted constructively in my life, & i had never touched oil painting before

2D Module, painting. Given the option, i would swallow needles than to paint. Going into fine art again, i was hellaaaa intimidated after finding out we would be introduced to oil painting. I havent painted constructively in my life, & i had never touched oil painting before

2D Module, painting. Given the option, i would swallow needles than to paint. Going into fine art again, i was hellaaaa intimidated after finding out we would be introduced to oil painting. I havent painted constructively in my life, & i had never touched oil painting before

2D Module, painting. Given the option, i would swallow needles than to paint. Going into fine art again, i was hellaaaa intimidated after finding out we would be introduced to oil painting. I havent painted constructively in my life, & i had never touched oil painting before

2D Module, painting. Given the option, i would swallow needles than to paint. Going into fine art again, i was hellaaaa intimidated after finding out we would be introduced to oil painting. I havent painted constructively in my life, & i had never touched oil painting before

2D Module, painting. Given the option, i would swallow needles than to paint. Going into fine art again, i was hellaaaa intimidated after finding out we would be introduced to oil painting. I havent painted constructively in my life, & i had never touched oil painting before

Some drawings I made as part of my Figure Drawing module.I used to hate drawing so much, especially at a large scale, and life drawing. Towards the end I realised i might actually have a knack for it

Some drawings I made as part of my Figure Drawing module.I used to hate drawing so much, especially at a large scale, and life drawing. Towards the end I realised i might actually have a knack for it

Some drawings I made as part of my Figure Drawing module.I used to hate drawing so much, especially at a large scale, and life drawing. Towards the end I realised i might actually have a knack for it

Some drawings I made as part of my Figure Drawing module.I used to hate drawing so much, especially at a large scale, and life drawing. Towards the end I realised i might actually have a knack for it

Some drawings I made as part of my Figure Drawing module.I used to hate drawing so much, especially at a large scale, and life drawing. Towards the end I realised i might actually have a knack for it

Some drawings I made as part of my Figure Drawing module.I used to hate drawing so much, especially at a large scale, and life drawing. Towards the end I realised i might actually have a knack for it

Some drawings I made as part of my Figure Drawing module.I used to hate drawing so much, especially at a large scale, and life drawing. Towards the end I realised i might actually have a knack for it

Some drawings I made as part of my Figure Drawing module.I used to hate drawing so much, especially at a large scale, and life drawing. Towards the end I realised i might actually have a knack for it

Some drawings I made as part of my Figure Drawing module.I used to hate drawing so much, especially at a large scale, and life drawing. Towards the end I realised i might actually have a knack for it

Some drawings I made as part of my Figure Drawing module.I used to hate drawing so much, especially at a large scale, and life drawing. Towards the end I realised i might actually have a knack for it

For my final print, I was required to apply 3 techniques learned during the elective. I’ve never had to dread through doing something so much in my life.i didnt had time to learn silkscreen, so i thought i could gamble & try out photo-lithography for the for the first time ever. The most fun and experimental technique thus far

For my final print, I was required to apply 3 techniques learned during the elective. I’ve never had to dread through doing something so much in my life.i didnt had time to learn silkscreen, so i thought i could gamble & try out photo-lithography for the for the first time ever. The most fun and experimental technique thus far

For my final print, I was required to apply 3 techniques learned during the elective. I’ve never had to dread through doing something so much in my life.i didnt had time to learn silkscreen, so i thought i could gamble & try out photo-lithography for the for the first time ever. The most fun and experimental technique thus far

For my final print, I was required to apply 3 techniques learned during the elective. I’ve never had to dread through doing something so much in my life.i didnt had time to learn silkscreen, so i thought i could gamble & try out photo-lithography for the for the first time ever. The most fun and experimental technique thus far

For my final print, I was required to apply 3 techniques learned during the elective. I’ve never had to dread through doing something so much in my life.i didnt had time to learn silkscreen, so i thought i could gamble & try out photo-lithography for the for the first time ever. The most fun and experimental technique thus far

For my final print, I was required to apply 3 techniques learned during the elective. I’ve never had to dread through doing something so much in my life.i didnt had time to learn silkscreen, so i thought i could gamble & try out photo-lithography for the for the first time ever. The most fun and experimental technique thus far

For my final print, I was required to apply 3 techniques learned during the elective. I’ve never had to dread through doing something so much in my life.i didnt had time to learn silkscreen, so i thought i could gamble & try out photo-lithography for the for the first time ever. The most fun and experimental technique thus far

some prints I made as part of a printmaking elective in school. This was a very humbling time for me lol after losing touch for years. got to revisit techniques that I loathed (monoprint/type, etching, linocut). Not the best ive done, but I had a lot of fun

some prints I made as part of a printmaking elective in school. This was a very humbling time for me lol after losing touch for years. got to revisit techniques that I loathed (monoprint/type, etching, linocut). Not the best ive done, but I had a lot of fun

some prints I made as part of a printmaking elective in school. This was a very humbling time for me lol after losing touch for years. got to revisit techniques that I loathed (monoprint/type, etching, linocut). Not the best ive done, but I had a lot of fun

some prints I made as part of a printmaking elective in school. This was a very humbling time for me lol after losing touch for years. got to revisit techniques that I loathed (monoprint/type, etching, linocut). Not the best ive done, but I had a lot of fun

some prints I made as part of a printmaking elective in school. This was a very humbling time for me lol after losing touch for years. got to revisit techniques that I loathed (monoprint/type, etching, linocut). Not the best ive done, but I had a lot of fun

some prints I made as part of a printmaking elective in school. This was a very humbling time for me lol after losing touch for years. got to revisit techniques that I loathed (monoprint/type, etching, linocut). Not the best ive done, but I had a lot of fun

some prints I made as part of a printmaking elective in school. This was a very humbling time for me lol after losing touch for years. got to revisit techniques that I loathed (monoprint/type, etching, linocut). Not the best ive done, but I had a lot of fun

some prints I made as part of a printmaking elective in school. This was a very humbling time for me lol after losing touch for years. got to revisit techniques that I loathed (monoprint/type, etching, linocut). Not the best ive done, but I had a lot of fun

some prints I made as part of a printmaking elective in school. This was a very humbling time for me lol after losing touch for years. got to revisit techniques that I loathed (monoprint/type, etching, linocut). Not the best ive done, but I had a lot of fun

been putting off printmaking mostly bc ive been too accustomed to a studio with equipments that i can only dream of having post-Nafa

decided to indulge on making stickers on a whim + my mandatory collaging shtick. Fk the air bubbles though..

been putting off printmaking mostly bc ive been too accustomed to a studio with equipments that i can only dream of having post-Nafa

decided to indulge on making stickers on a whim + my mandatory collaging shtick. Fk the air bubbles though..