KAYLEIGH GOH

Whilst the typical architectural experience requires its viewer to be entirely enveloped in its art, Goh’s two-dimensional architectural transcriptions discount physicality from the experience. These illusory spaces cannot and will not have or hold any actual thing. As such, the planarity of Goh’s works prioritises the metaphysical; in the artist’s own words, they act as portals for escape—escape from the cacophony of life, escape from the corporeal and into the mind.

The series’ ultimate genesis was a yearning for pause, with and through the meditative process of creation. The works are cold but warm, austere and luxurious all at once, tension that results in illusions grounded in reality but impossible for the real world. Completion of a final work was intuited by a sense of stasis in both product and process. And yet, if only, recalls lost possibilities at a day’s end, thoughts only ever divulged in moments of intimacy. For the privilege of such vulnerability, the works are naked first—raw, textured concrete and exposed wood lay bare the illusion of space. The pretence is shed in favour of a listening ear, one the viewer will always find Goh’s work.