Sharing my take on the Singapore Biennale 2025—on view until 29 March 2026.

Here’s my review for Frieze on 'Wifredo Lam: Outside In' at STPI Singapore, reading the exhibition through the lens of Edouard Glissant's 'poetics of relation’. The exhibition features over 60 works on paper, offering a rare glimpse into the artist's late printmaking practice.

Heman Chong has a wry way with words—and knows how to put them to work. Here’s my review of his solo exhibition at the Singapore Art Museum, “This is a dynamic list and may never be able to satisfy particular standards for completeness.”

Sharing my review for ArtAsiaPacific on the 11th Asia Pacific Triennial of Contemporary Art at QAGOMA, which I had the pleasure of visiting in April, just before it closed. artasiapacific.com/shows/the-11...

Sharing my review of Julie Mehretu's "A Transcore of the Radical Imaginatory" at the Museum of Contemporary Art Australia (MCA) in Sydney—the artist's first solo exhibition in the Asia-Pacific region.

Museums clinging to passive displays risk becoming relics themselves. To stay relevant, they must swap static exhibits for multisensory experiences that spark curiosity, invite play, and engage all the senses—because true immersion isn’t just digital, it’s how we experience the world.

Here’s my review of Kim Lim: The Space Between. A Retrospective, a long-overdue homecoming exhibition at National Gallery Singapore, which closed in February, celebrating the remarkable career of the Singapore-born British printmaker and sculptor. artasiapacific.com/shows/kim-li...

Sharing my piece, “Progress, Pitfalls, and Possibilities”, on the Singapore art scene, published in ArtAsiaPacific’s Almanac 2025 earlier this year.

My feature on Thai artist Pratchaya Phinthong, acclaimed as a conceptual alchemist, is now out in the Nov/Dec issue of ArtAsiaPacific. Phinthong's work centers on material transfer and transposition, exploring interconnectedness and the impacts of ecological disruption.

Read my interview with Alex and Johnny Turnbull for ART SG, where they delved into their late mother Kim Lim’s homecoming exhibition, “The Space Between. A Retrospective,” at the National Gallery Singapore, and reflected on how their parents' legacy has shaped their creative journeys.

Here’s my review of Icelandic-Danish artist Olafur Eliasson's first solo show in Southeast Asia, "Your curious journey" at the Singapore Art Museum (SAM): artasiapacific.com/shows/olafur...

Delighted to share my profile story on interdisciplinary artist Robert Zhao Renhui in the Mar/Apr issue of ArtAsiaPacific. This year Zhao will represent Singapore at the 60th Venice Biennale. The exhibition, titled “Seeing Forest,” is set to extend his previous body of work on secondary forests.

Here’s my review of Tropical: Stories from Southeast Asia and Latin America, an ambitious exhibition at the National Gallery Singapore on now until March 24th, 2024. pluralartmag.com/2024/01/06/t...

I interviewed Tokyo-based Indonesian artist Albert Yonathan Setyawan about his ceramic practice, his discovery of phenomenology, and his admiration for German artist Wolfgang Laib. Read my full essay in Art & Market: https://artandmarket.net/profiles/2023/9/27/albert-yonathan-setyawan

Here’s my review for @artasiapacific on Chinese artist Sun Xun’s current exhibition, “The Immeasurable Everything”, at ShanghArt M50. The show takes audiences behind the scenes of his ongoing feature-length animation, The Magic Atlas (2019- ), inviting them to imagine how history unfolds.

What is the fashion buzz word “quiet luxury”? It’s a pared-back approach to luxury. It’s more a mood than a trend best captured by the beige interiors and cashmere sweaters that the predominately white, cold, and joyless protagonists in HBO’s Succession are drenched in.

Delighted to see my article on Australian artist-ceramicist Kirsten Coelho in print in the current edition of the Sullivan+Strumpf magazine. https://issuu.com/sullivanstrumpf/docs/aprmayjun2023/s/23269792

“The continued lack of male love interests in recent female-led films – Raya and the Last Dragon and Encanto – shows that Disney has absorbed the idea that the end-destination of a female protagonist doesn’t have to involve a guy or heterosexual marriage.”

How do we escape the narrow definition of “great” that limits the canon of art history to men like Picasso by putting men like Picasso at the centre of conversation? Picasso said, “An idea is a point of departure and no more.” Perhaps it’s time we change our point of departure.

Delighted to share my interview with Sun Xun, one of the most prolific artists in China today, published in Asia Art Archive’s IDEAS Journal. Find out more about the significance of the woodblock medium in his pratice: https://aaa.org.hk/en/ideas-journal/ideas-journal/type/conversationsn