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SEASON IV

Curated by Dr S. Chandrasekaran and

Assisted by Gerald Tay and Amirah Raudhah Razali

Exhibition Period
14 December 2018 - 30 November 2019

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tcc - the connoisseur concerto and LASALLE College of the Arts

FOR MEDIA ENQUIRIES
Sabrina Zhang Qianjie
Executive, Public Affairs
Division of Communications
LASALLE College of the Arts
T: 6496 5213
Email: sabrina.zhang@lasalle.edu.sg
jointly present Art Moves IV, featuring over 50 artworks from
14 BA (Hons) Fine Arts graduates from LASALLE.
Ivan Chua
Senior Marketing Executive
Sarika Connoisseur Café Pte Ltd
DID: 6804 6346
Email: ivan_chua@theconnoisseurconcerto.com #LASALLExTCC #ArtMoves
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Content
01 Alysha Rahmat Shah

02 Amirah Raudhah Razali

03 Anna Chan

04 Ann Jessica Chan

05 Dipali Gupta

06 Donna Lu

07 Gerald Tay

08 Harshnee J

09 Ian Leong

10 Leslie Low

11 Masuri Mazlan

12 Nerissa Tan

13 Odelia Tang

14 Tristan Lim
ACKNOWLEDGEMENT:
Jointly organised by:
tcc - the connoisseur concerto and LASALLE Colleage of the Arts

Curator:
Dr S. Chandrasekaran

Assistant Curators:
Gerald Tay and
Amirah Raudhah Razali
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SEASON IV
Art Moves IV turns the traditional exhibition
model on its head by bringing art to potential
buyers outside the ambiance and environment
of a gallery space and providing a springboard
for these LASALLE graduates to launch their
art careers.
Curated by Dr S. Chandrasekaran, Head,
McNally School of Fine Arts, LASALLE College
of the Arts, along with assistant curators,
Gerald Tay and Amirah Raudhah Razali, the
2019 edition of the exhibition will showcase
over 50 works by 14 recent BA(Hons) Fine Arts
graduates. Spanning prints, photographs,
embroideries and paintings, the works will be
featured across several tcc art boutique caffés.
A portion of the proceeds from artwork sales
will be donated to the loveLASALLE Education
Fund, which provides bursaries to financially
disadvantaged students at LASALLE.
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Pg 4
Alysha Rahmat Shah
alyshhhh@gmail.com
01
lyshrhmtsh
+65 9734 1631
Alysha (b.1995) is Singapore based artist who although
majored in printmaking, also works with other mixed
media like embroidery. Her prints have been featured in
shows such as the 2017 Artling Pop-Up at Helutrans
gallery, the 2017 Affordable Art Fair Charity wall, and the
2016 MULTI: +PROJECT in Kyoto’s Gallery Tomo as well
as being commissioned and bought by Lasalle to present
to corporate guests. Other embroidery pieces have been
featured in Riotness, 2017 at Canvas Creative Space.
Her works focus on scenes and images based off
the forest of Mount Ophir in Tangkak - Malaysia, the
indigenous people and their spiritual and
paranormal beliefs.
Fig 1.1
Fig 1.2 Fig 1.3 Fig 1.4
Artwork Description:
These series of embroideries are centred around the land
of Gunung Ledang and Kota Kubu Baru, the areas that are
frequented by the Asli and that are being fought for to not
be renovated or taken as private property by the government.
These are lands that provide food, medicine and can even
be considered their sacred burial grounds.
Fig 1.1 - Gerry’s Heliconia, Acrylic paint, cotton wool Fig 1.3 - The Mist in the Mornings, Embroidery and Cotton,
and embroidery, 8cm diameter, 2018 / $315 15cm diameter, 2018 / $485
Fig 1.2 - The Pondok, Embroidery and Lace, Fig 1.4 - The Back of the Land, Embroidery and Acrylic paint,
8cm diameter, 2018 / $315 20cm diameter, 2018 / $600
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Amirah Raudhah Razali

amirahraudhah@gmail.com
02 Anna Chan

ok.annachan@gmail.com
03
amirahrau.wixsite.com/home annachan.co
amirahrau +65 9622 1017
+65 9296 0615
Anna works with spaces that are ambiguous-- often
Amirah (b.1995) majors in printmaking and is challenging working with various flat surfaces to manipulate. Her
her etching skills to create multi-colour schemes. Her practice draws from architectural references, while
exploration in copper plate etching dwells into the presenting itself in a nonsensical language. Themes of
intensity and subtlety of the inks which are reflected onto relation between body and impressions are explored
her prints. Her goal in art-making is to express the and detached in her works.
conscious and subconscious through a positive channel.

She was involved in shows You Don't Need a 100

Editions at ICA Singapore, and FEED TO LAST in Grafis
Minggiran Studio, Yogyakarta Indonesia, showcasing her
floral series that deals with grief and mourning. Amirah is
one of the recipients of the NAC Community Art
Mentorship Programme Award 2018. She has
participated in group shows such as APAD Kontemporari
2017 and was featured her Berita Harian and Berita
Minggu newspapers.

Fig 3.2

Fig 2.1
Fig 3.1

Artwork Description: Artwork Description:

Various multi coloured etching prints with different flowers arranged
based on their own floral vocabulary. Flowers are her main subject
matter as she grew up seeing her mother working closely with
flowers and arranging them as a profession. Having that meaningful
connection with flowers, she then uses printmaking as a tool for
recreating memories.
This work explores the extensions of the body within the digital
world; the ambiguity, possibilities, system and chaos. Anxious
hand movements are traced on digital drawing pad, creating
unsettling lines that are printed on paper, which are then folded.
It draws from the invisible hand gestures and traces we leave in
Fig 2.2
the digital realm.

Fig 2.1 - Self Portrait I, Etching print on Fabriano Paper, 30cm x 40cm, Edition of 5, 2016 / $350 Fig 3.1 - THERE IS NO PATTERN_001, Inkjet print on paper, 23cm x 23cm, 2018 / $300

Fig 2.2 - Self Portrait II, Etching print on Fabriano Paper, 30cm x 40cm, Edition of 5, 2016 / $350 Fig 3.2 - THERE IS NO PATTERN_002, Inkjet print on paper, 23cm x 23cm, 2018 / $300
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Ann Jessica Chan
jessicachan819@gmail.com
04
annjessicachan.com
meermu
+65 9168 1077
Jessica (b.1996) is a contemporary artist born in Canada
who now lives and works in Singapore. In 2017, Jessica
was the Public Vote Prize winner for the Sovereign Art
Foundation Students Prize. Her paintings have been
featured in various group shows and articles, such as
Noise, Contented.co, and Culturepush. In painting,
Jessica has always been more fascinated with the
sensations a canvas can bring and how certain works are
able to engage viewers in fostering receptive and
meaningful dialogues.
Fig 4.1
Artwork Description:
Particularly interested in the relative nature
of binaries, and how the world in this day and
age has become arguably closer and more
accessible than ever before, these works
explore this current phenomenon.
Fig 4.2
Fig 4.1 - The Seams 7, Oil on Canvas, 42.0 x 59.4cm, 2018 / $350
Fig 4.2 - The Seams 8, Oil on Canvas, 30.5cm x 41cm, 2018 / $300
Pg 8
Dipali Gupta
Dipali.anurag@gmail.com
05
Dipalianurag
+60 19576 1405
Dipali is an artist living and practicing in Singapore and
Malaysia. Dipali’s art practice is an exploration of
societal constructs from the domain of the feminine. In
her practice, she incorporates sounds, visuals and
movements to deconstruct socially lived realities in
order to regenerate new meanings. She is the 2018
winner of the Chan Davies Art Prize.
She has exhibited both locally and internationally, such
as ArtxTechForGood at the Singapore Art Science
Museum, Collective Consciousness at the Art House,
Singapore, and Sound Reasons at Korean Cultural
Centre, New Dehli.
Fig 5.1 Fig 5.2
Artwork Description:
The Little Death likens the vanitas concept of still life paintings to the death like
feeling experienced while having an orgasm. Staged as a conventional Dutch
vanitas painting, the compositional Dutch vanitas painting, the composition is
eroticized with the inclusion of sexual devices, hidden within objects that
symbolise temporality and the fleeting nature of worldly desires.
Fig 5.1 - The Little Death (O Her! Series 1.2), Photo print on Archival paper,
60cm x 42cm, 2018, limited edition 6+1 / $650
Fig 5.2 - Moving Still Life (O Her! Series 1.1), Photo print on Archival paper,
60cm x 42cm, 2018, limited edition 6+1 / $650
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Donna Lu
donnalu.studio@gmail.com
06
bydonnalu.com
bydonnalu
+65 9835 6759
Donna (b.1996) is a visual artist based in Singapore.
Her research interests revolve around themes of
transience, change, agency and impermanence. In
particular, she is concerned with the traces left
behind by individuals and objects. Using the
language of landscape and architecture, she
negotiates the human condition and the nature of
purpose, primarily through the mediums of paint
and photography.
Fig 6.1
Artwork Description:
These works explore the fragile distinction between
growth and decay. Taking traces left behind on urban
infrastructure, the paintings reframe stains of algae,
watermarks and soot etc as abstract landscapes.
Fig 6.2
Fig 6.1 - In the distance waits, Acrylic on polyester fabric, 15.3cm x 10.2cm, 2018 / $300
Fig 6.2 - Upon the garden wall, Acrylic on polyester fabric, 17.8cm x 12.7cm, 2018 / $300
Gerald Tay
GeraldTay23@gmail.com
07
Geraldtay.weebly.com
geraldrawings
+65 9738 0192
Gerald Tay (b.1992) is a visual artist working primarily in
drawing and painting. He uses figuration as a departure
point to explore ideas of the mask and the act of masking.
Gerald constructs his ideas about the masks through
drawing, and is a reflection of his mental states, the way
he thinks and feels.
His works were exhibited in To leave home is already half
the journey at Institute of Contemporary Arts Singapore
and The New Now II – Vivid and Veiled at Gajah Gallery.
Fig 7.1
Artwork Description:
Drawing influence from Picasso’s cubism – the
Multiple perspective in a single view point - Gerald
drew hard geometric lines to distort mask motifs.
The face, as a mask, changes expression with the
mood of a moment and is thus a source of multiple
recollection. The overlapping of lines and planes
thereby suggest this simultaneity of different forms
in the figure.
Fig 7.2
Fig 7.1 - We Are Mirage, Charcoal on newsprint paper, 30cm x 42cm, 2018 / $240
Fig 7.2 - Everyday Chemistry, Charcoal on newsprint paper, 30cm x 42cm, 2018 / $240
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Pg 12
Harshnee J

Harshneejay@gmail.com
08 Ian Leong

ianleong94@gmail.com
09
harshneeart.wixsite.com/mysite ianleong.weebly.com
harshneeeeeeeee +65 9691 6448
+65 9107 6256
Ian is a multi-disciplinary artist interested in the interplay
Harshnee is a visual artist based in Singapore. She between art and science, using collected information to
majored in oil painting and she has worked with weave abstracted narratives.
mediums such as acrylic, pencil, charcoal, sculpture,
video and installation. Her current work explores Stemming from his interests in palaeontology, Ian is
process art and process painting in the form of video drawn to the paradoxical nature of the science - a
and installation works. system that contains scientific absolutes but yet
contains missing gaps of knowledge. Filled by
calculated predictions based on constantly shifting
systems of knowledge, the nature of the science leaves
room for the interjection of subjective speculation.

Fig 8.2

Fig 9.1
Artwork Description:
Harshnee is interested to create works that engage
viewers’ thoughts about the artist’s journey from
beginning to the end of the art-making process.
Fig 9.2
There is an interest in exploration of time, change, and
transience in her practice. She finds it important to
Artwork Description:
view her practice as a continual process of movement
In his current practice, Ian is interested in creating visual
and change.
narratives around found objects that he finds peculiar, with a
specific interest towards the notion of decay or degredation in
relation to time. Ian curates, archives, and index the information
he receives, only to then transform them into various iterations.

Fig 8.1

Fig 8.1 - ‘Untitled’ II, Acrylic, pouring medium and Silicone Oil on Canvas, 45.8cm x 48.5cm, 2018 / $400 Fig 9.1 - Untitled 2, Graphite on paper, 59.4 cm x 84cm each, 2017 / $500

Fig 8.2 - ‘Untitled’ Series II, Acrylic, pouring medium and Silicone Oil on Canvas, 15.3 x 122cm, 2018 / $320 Fig 9.2 - Untitled 3, Graphite on paper, 59.4 cm x 84cm each, 2017 / $500
 ArtMoves_Lasalle_Season 4_A5 Brochure_Opt B_v4FA.pdf 8 7/12/18 4:04 PM
Leslie Low
leslielowstudio@gmail.com
10
leslielowstudio.com
ellelles
+65 8268 3748
Leslie (b.1993) is a visual artist based in Singapore.
His works largely comprise of graphite drawings and
oil paintings. They are an exploration of an aesthetic
awareness in response to found images. His main
influences stem from poetry, ikebana, Chinese calligraphy
and Zen practices. He has been commissioned by
brands such as CNN, DBS Bank, the National University
of Singapore Society (NUSS), Jones Lang LaSalle
and Vanity Fair. He is the two-time winner of NUSS'
Paint-a-Portrait competition in 2014 and 2018.
Fig 10.2
Fig 10.1
Artwork Description:
The works chart the relationship between vision and image in art making. They serve as a
documentation of the artist's gaze in response to commonly distributed floral images and provides
a narrative of that visual journey in registering mark-makings and layers of patterns. It also contains
the extent of his focus, attention to detail, interests and intentions.
Fig 10.1 - Crystallize, Graphite on Paper, 21cm x 30cm, 2018 / $350
Fig 10.2 - Fold, Graphite on Paper, 21cm x 30cm, 2018 / $350
Masuri Mazlan
masuristudio@gmail.com
11
www.masuristudio.weebly.com
masuristudio
+65 9883 8439
Masuri (b.1990) is a creative hyphenate who delves
primarily with installation work. In October 2016, he
received the prestigious Goh Chok Tong Youth Promise
Scholarship Award that merits his artistic talent and his
community work for the society. In 2017, he won the
coveted International TAKIFUJI Art Award, Prize for
Excellence in Tokyo, Japan. In 2018, he was offered
The Winston Oh Travelogue Scholarship Award 2018 to
expand his cultural research on Japanese Tanabata
Festival. That same year, he was accorded the Anugerah
Cemerlang MENDAKI for being the top 10% of his
cohort. He has participated in several group exhibitions,
notably in Gajah Gallery, Institute of Contemporary Arts
Singapore and Gallery Tomo (Teramachi / Marutamachi),
Kyoto, Japan.
Fig 11.1
Artwork Description:
Both paintings are painted in synthetic
polymer paint on canvas board. They are an
exploration of the tactility of surfaces with
paint as a sculptural medium on flat surfaces.
Fig 11.2
Fig 11.1 - Untitled I, Synthetic polymer paint, undercoat primer and spray paint
on Canvas Board, 28cm x 35.5cm, 2018 / $388
Fig 11.2 - Untitled II, Synthetic polymer paint, undercoat primer and spray paint
on Canvas Board, 28cm x 35.5cm, 2018 / $388
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Pg 16
Nerissa Tan

nellyclarry.tan@gmail.com
12 Odelia Tang

odeliatww@gmail.com
13
nerissatan.com odeliatang.com/
nellyclarry _odeliatang

Nerissa (b.1993) is a winner of the Winston Oh Odelia (b.1993) is a visual artist investigating the
Travelogue Award 2018 (Research). In negotiating the Eastern and Western philosophies of being and
narratives of Chinese women, she finds her research becoming. Tang’s art and research practice measures
within the realms of documentation, archives and found complex human emotions through drawing, painting
objects. In deconstructing western historical narratives, and installation, in order to question humanity's
she questions long held beliefs and understanding of capacity to transform. Her works have been shown
East Asian women for a reconsideration of their agency in solo and group shows at The Private Museum,
through marriage, sex, childbearing and migration. Gillman Barracks and Coda Culture, PHUNK, Art
Seasons Gallery, Mulan Gallery and The Institute of
Contemporary Art Singapore. She has been featured on
Intersections.sg, The Straits Times, Channel News Asia,
Telegraph Uk, Zaobao, Angloino, Arthop and ArtRabbit.

Fig 12.1

Artwork Description:
These works bear the overlay O’Keefe’s famous
flower prints with Federici’s Caliban and the Fig 13.1 Fig 13.2
Witch in order to desexualise them.
Fig 12.2
Artwork Description:
Untitled explores the abstraction of the human figure and the
butterfly through acrylic painting in order to negotiate human
transformation through identity loss and gain.

Fig 12.1 - On Georgia I Caliban and the Witch, O'Keefe flowers, image transfer on canvas, Fig 13.1 - Untitled 1, Acrylic on Canvas, 20cm x 20cm, 2018 / $350
30cm x 30cm, 2018 / $300
Fig 13.2 - Untitled 2, Acrylic on Canvas, 20cm x 20cm, 2018 / $350
Fig 12.2 - On Georgia II Caliban and the Witch, O'Keefe flowers, image transfer on canvas,
30cm x 30cm, 2018 / $300
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Pg 18
Tristan Lim

trisarts@gmail.com
14
tristan-lim.com
@trtrist_
Artists’ artworks are available for
Tristan (b.1993) is a visual artist whose practice uncovers viewing and purchase at the
semiotic relationships between disparate things. Examining following tcc boutiques:
the logic that motivates the appearance and circulation of
images, presences, merchandise, brands, advertisements International Building
and models, he questions ideas of significance and 360 Orchard Road, #01-01
representation by generating distortions within these t: 6732 3696
cultural forms. His works have been featured in group Operating Hours
Daily, Eve of PH & PH
exhibitions at Ota Fine Arts, The Arts House, SAM at 8Q 24 hours
and The Institute of Contemporary Arts Singapore. He
has also participated in the Facebook Artist-in-residence Circular Road The Pier @ Robertson
51 Circular Road 80 Mohamed Sultan Road, #01-01/02
(AIR) programme and was a recipient of the Winston Oh t: 6533 9033 t: 6733 8707
Travelogue Award (Research).
Operating Hours Operating Hours
Monday to Sunday, Eve of PH & PH Sunday to Thursday & PH
11am to 11pm 8am to 11pm
Sunday – Close Friday, Saturday & Eve of PH
8am to 12am
Novena Square
238 Thomson Road, #01-56/58 Great World City
t: 6352 9257 1 Kim Seng Promenade, #01-29
Operating Hours t: 6737 3317
Sunday to Thursday & PH Operating Hours
11am to 10pm Daily, Eve of PH & PH
Friday, Saturday & Eve of PH 11am to 10pm
11am to 11pm
ION Orchard
2 Orchard Turn, #B2-49
t: 6509 6106
Fig 14.1 Fig 14.2 Operating Hours
Sunday to Thursday
10am to 10pm
Artwork Description: Friday, Saturday, Eve of PH & PH
The artworks examine the figure of the Panther and the Bear, along with 10am to 11pm
various ways it has manifested across popular culture. These manifestations
are then skinned and overlayed into new, configurations and abstractions,
shedding several of the tropes and archetypes they carry or reinforce in
the process.

Fig 14.1 - Point of Entry I, Vinyl print & mixed media on acrylic panel, 40cm x 40cm, 2018 / $500

Fig 14.2 - Point of Entry II, Vinyl print & mixed media on acrylic panel, 40cm x 40cm, 2018 / $500

Exhibition period till 30 November 2019. ADMISSION IS FREE