PRIYAGEETHA DIA, JO HO

Tang examines the constructed nature of Singapore’s visual greenery, while Dia re-senses plantation histories through sound and flickering lenticular prints. Ho turns inward, probing machine vision through medical scans that hover between recognition and abstraction. Chong completes the exhibition with a mural and sculptural objects drawn from digital culture, rendering its shifting forces materially.

Across these practices, the exhibition proposes the image as an evolving structure—always in motion, always being made and unmade.

Daniel Chong (he/him) (b. 1995, Singapore) is an artist-curator that works between the quiet slippages of function and sentimentality. Working through subtlety, his works evoke an emotive sense of longing and desire. Chong engages with materialism as a means to unearth sentimental connections through objects, but centred in our understanding of them through its use. His practice is often characterised with the ability to softly nudge our preconceived notions of objects through minute interventions. His works seem irreverent and casual but in it lies a thorough process of listening and working an object through its materiality.

Jo Ho is a media artist working with digital installations and generative systems to explore how digital technologies shape and obscure our perception of meaning, memory, and materiality. Ho often reassembles familiar forms and everyday devices into uncanny hybrid sculptures that reveal the physical bodies that host digital systems. By creating experiences of dissonance, spectrality, and ambiguity, her works invite viewers to look more closely, to unearth what lies beneath the surface, and to encounter the material weight and history of the digital. Ho teaches creative coding at the University of the Arts Singapore and Nanyang Technological University and has a background in Architecture (B.Arch) and a Master’s degree in New Media Design.

Marvin Tang uses images as a tool of investigation. He received his Bachelor of Fine Arts at the School of Art, Design, and Media (NTU) and Masters in Photography at the University of the Arts London. His research questions the linearity of historical narratives and the notion of collective identities. His works stem from the effects of policy-making to shifting social structures. He is particularly interested in applying this research to Singapore, attempting to investigate its own historical account and relationship to her expanded narratives across the globe. Marvin received the Photoworks Prize at the London College of Communication in 2018. He is also the recipient of the CAPA Asia Portfolio Review Prize at the 5th Singapore International Photography Festival in 2016 and a recipient of the Kwek Leng Joo Prize of Excellence in Photography in 2015. His works have been shown in Alliance Française de Singapour, DECK (Singapore), Mizuma Gallery (Singapore), Thessaloniki PhotoBiennale (Greece), Noorderlicht International Photofestival (Netherlands), Odesa Photo Days (Ukraine), and Dali International Photography Exhibition (China). He is a Producer at Superhero Me, a ground-up inclusive arts movement based in Singapore, and lectures at Lasalle College of the Arts and School of Art, Design and Media.

Priyageetha Dia works with time-based media and installation. Her practice braid themes of Southeast Asian labour histories, speculation of the tropics, and the ancestral memory meeting machine logics. Through archival and field research, explores nonlinearity and practices of refusal against dominant narratives. Recent exhibitions include 4th Bangkok Art Biennale (2024); Manifesta 15, Barcelona (2024); 60th La Biennale di Venezia, Venice (2024); Arts House, Melbourne (2024); Diriyah Biennale, Saudi (2024); Frieze Soul (2023); Singapore Art Museum (2023); Kochi-Muziris Biennale, Kerala (2022); La Trobe Art Institute, Australia; (2022). She was an artist-in-residence at the NTU Center of Contemporary Art Singapore in 2022 and the SEA AiR – Studio Residencies at the Jan Van Eyck Academie in the Netherlands in 2023.