Weixin Quek Chong

Figures of Speech (2010) and Two Incantations (2026)

embossed tissue paper

​Figures of Speech is a series of embossings on tissue paper in which fragments of text are hidden in binary code and form a contemplation on faded memories. Witnesses of key experiences in one’s consciousness are places and environments that no longer exist. Two Incantations is a reflection on opposite manifestations of approaches to communality. One is bristling and acidic, the other immersed and euphoric. These two sets of text have fragmented and taken on obscuring layers in the process of becoming imageobjects. They conceal as well as reveal —one on the self and one on the self-with-others. The viewer is compelled to excavate the often-veiled nature of communication.  
 

Priyageetha Dia

Notes from a Disciplined Tongue (2026)

Audio monologue/spoken text

Notes from a Disciplined Tongue uses the intimacy of a spoken monologue to explore what it means to make art within a tightly managed cultural environment. The title holds two meanings at once: a tongue that is skilled, and a tongue that has learned to be careful. The piece is most effective when it refuses to choose between them.

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Moving between personal anecdote and structural observation, the voice traces the negotiations that shape artistic life through questions of visibility, compliance, and dissent. Sitting somewhere between testimony and an unfinished document, the monologue allows the voice to wander through contradictions and quiet frustrations that often remain unspoken.
 

Regina De Rozario and Cheryl Charli

Exit/Loop (2026) 

audio walk with pre-recorded narrative, field recordings, music, ambient sounds, and guided physical movements through public space. 45mins

Something has been trying to leave this building for years. But every exit is a loop; every departure, a return. 

Exit/Loop is an audio walk devised for the solo listener. Guided by voices that convey directional instructions, historical traces, and present-day observations, the walk threads through the interior passageways of three adjacent sites – Peninsula Shopping Complex, Excelsior Shopping Centre, and Peninsula Plaza. Along this maze of corridors unfolds a story of a wrapped object – its address obscured; its contents unknown. As it goes in search of its final destination, it begins to recall fragments of past loops and chance encounters, and contemplates the meaning of its own existence through time and place.

Joanne Pang

Living Traces (2025)

ink and thanakar on paper

This drawing used for Circulations festival’s visual identity was done during her artist residency in dblspce in July 2025, where Pang was exploring the relationships between reproduction, labour and materiality. Using ink and thanakar, a thick yellow paste made from ground bark that Burmese women typically apply on their faces as part of their tradition, the artist reinforces the notion of labour across cultures.

Susie Wong

G. (1994) 

oil painting, 76 x 51 cm

Ovidia (1990s)

oil painting,  76 x 51 cm

Arpana (1990s) 

oil painting, 46 x 36 cm

The three oil paintings were made in the 1990s. They are portraits of the artist’s friends or acquaintances who volunteered to sit for her. The paintings were done in the artist’s home studio. Ovidia was part of the group of paintings Susie Wong displayed at Pacific Plaza at the Personae I show in 1994 organised by 5th Passage.

Joanne Pang

Traces of Life (2025) 

indian ink, bitumen, thinner, vinyl sticker, cloth and alcohol

​Through a site-responsive drawing performance that unfolds over the festival days, Joanne Pang negotiates with her body as a medium to process image data while making visible the physical and emotional states that constitute motherhood.  The glass frontage of dblspce will be used as the site for intervention to allude to the translucency and porosity of a woman's body. Using ultrasound inspired images produced via machine-learning algorithms that combine ink drawings with fetal ultrasound scans from multiple women, Pang will trace and translate the image into new forms. The two dimensionality of the glass surface will be engaged by using her body as a drawing tool and printing plate to explore embodied forms of image making. Executed at regular intervals each day, the performance adopts a laborious rhythm while leaving a residual effect across time and space. The deliberate pauses in the work invite the audience to witness the accumulative quality of drawing and to shed light on the performative aspect of becoming mother.