Past Exhibition

The Birth of Venus is a series of works in diverse media, exploring the complicated relationship between the female's identity and the virtual world. It implies the consequence of "becoming" in an era of ongoing multispecies practice, where the boundaries between humans, machines and all the "others" eventually break down, seriously challenging the concept of life and living.


By then, artificial intelligence uses algorithms to provide optimal solutions specifically for humans who do not adapt well to new environments - a series of unsupervised mental reconstruction learning games. People who are actively trained have a high chance of overcoming the intense discomforts caused by the new environment, such as narcissism, delusions or emotional instability, and are thus better transformed into advanced agents for the AI's interaction in the human world.

This artwork explores living stills as an expression of transcendence of internal and external forces. It inspires the empowerment of an individual in remembrance of inner perseverance and beauty in living out ones own authentic being.


"Don't ever let anyone dim your glow. -Rendered off Blender"

Skinfolk Kinfolk is a melancholic meditation of mapping and meandering through her mother's linear years. Conversing with her private histories, memories and experiences through the inanimate-the stories which were never told while growing up, but muttered and pieced together through the family archive.


The 2-channel installation simulates a conversation, drawing connections from the investigation of past and present relationships with "hard" and "soft" data, and the role of computational technologies to make meaning from it. The learned imagery dives deep into the subconsciousness and consciousness to tackle the notions of inherited identities and symbolic familial connections.

Skinfolk Kinfolk Kinfolk is a melancholic meditation of mapping and meandering through her mother's linear years. Conversing with her private histories, memories and experiences through the inanimate-the stories which were never told while growing up, but muttered and pieced together through the family archive.


The 2-channel installation simulates a conversation, drawing connections from the investigation of past and present relationships with "hard" and "soft" data, and the role of computational technologies to make meaning from it. The learned imagery dives deep into the subconsciousness and consciousness to tackle the notions of inherited identities and symbolic familial connections.

This work is a part of Serwah’s loosely titled Metaverse series which tells a narrative of world-building and personal responsibility with heavy symbolism. The planet Saturn and the apple in the avatar’s hands represent a cycle of life, death and creation we must all go through. Skeletons dance in the background amongst abandoned golden buildings and bright trees to remind us that we can celebrate in any state.

Based on the age-old tarot design of the 4 of cups minor arcana card, this piece explores themes of spiritual awakening, meditation, and inner conflict through occult symbols and a dominating female figure.

In this NFT series of Lost, objects representative of Singapore’s identity such as the flag and national flower become distorted and reduced to mere stripes of moving colour. Venturing into our collective memory, all familiarity and sentiments tied to these icons are lost and made foreign, creating a refreshing experience of something otherwise ubiquitous and identifiable.

Two cloth-like images of a couple's lips on opposing ends inch towards one another, just seemingly out of reach. Short Stories is a series of narrative-driven video loops which seek to communicate sentiment through pure visual imagery while being actively aware of their materiality as digital media.

We do not know when our time comes. For my Grandfather. He lived his life so we could live ours.


50% of all proceeds and royalties from secondary sales will be donated to the Singapore Children’s Cancer Foundation as long as this work lives.

Seasons looks at the variety of colours that leaves change into after they have fallen. The compositions representing each season are painted and collaged by extracting colour from different coloured leaves using the camera to create circle palettes. The images are abstract in nature but ground themselves in reality based on the possible colours of a leaf.

Resigning Mass centres itself around a script compiled from conversational scenes found within various movies, forming a collaged conversation between two parties. This script becomes the material in which the project's characters are literally and metaphorically shaped from, in their forms and lives. Images are extracted from the same movie scenes and converted into 3D models, which are used to shape the character's bodies. These scenes are skinned across their surfaces, a reminder of their origins. In animated videos, the character's move in an erratic, spastic manner, as the same script is converted into data that drives their movements.


Narrative force essentially becomes literal, governing all aspects in which the characters are presented. The characters have been 'pre-scripted'- they are forced to embody content written by others, both conceptually and formally. They are puppets stringed along literary lines, with no control over the paths they take. A sense of loss pervades- a resignation of fate, present in the title of the works. As an aberration of the term 'mass resignation', which connotes departure, a seemingly collective choice to leave, Resigning Mass takes an opposing tone, of an individual giving into the path laid out, having been exhausted, overcomed; bringing to mind questions of fatalism and predeterminism. These qualities seem to reflect the manner in which media is produced, consumed, and how they shape the way in which we perceive our lives. Stories of destiny, succumbing to or freeing oneself from its binds; Of staged realities, real/reel lives- wills toyed by powers beyond and unknown.


Resigning Mass was initially presented as a project in collaboration with Rafi Abdullah and Studio Darius Ou, and designed to have multiple iterations and permutations from its initial premise. For more information on its previous iteration, please visit tristan-lim.com/Resigning-Mass