Quiet Layers of Nature
Quiet Layers of Nature: A Solo Exhibition at Arkhilite Studio
From November 30 to December 1, 2024, I had the immense privilege of presenting my solo exhibition, *Quiet Layers of Nature*, at the Arkhilite Studio along Joo Chiat Road. This exhibition was a deeply personal exploration of the natural world through the tactile medium of ceramics, and I’m beyond grateful to all those who attended and made it such a meaningful experience.
This exhibition was not just a showcase of my ceramic works but a collaboration with the talented interior design architect, Vincent Goi. His keen eye for spatial design and aesthetics brought an added layer of depth to the exhibition’s presentation. Together, we created an environment where my sculptural works could interact with the space in new, thoughtful ways, offering viewers a chance to engage with the pieces from multiple perspectives. The careful design of the exhibition layout allowed the pieces to breathe, their textures and forms drawing attention to the intricate details I had woven into each piece.
Among the pieces featured in the exhibition were two works that hold a particularly special place in my heart: *Wishing Pipes* and *The Final Hour*. These sculptural pieces, which emerged from my fascination with the delicate yet profound processes of nature, were the heart of the show.
Wishing Pipes is a piece that embodies the stillness and rhythm of the natural world. The pipes, each hand-formed with care and attention to texture, stand as a metaphor for the quiet, hopeful prayers we often offer to the world. Their organic shapes evoke the beauty of nature’s form and the whisper of desires that echo through time, yet go unnoticed. In their presence, the viewer is invited to pause and reflect on the unseen forces that shape our lives.
The Final Hour, on the other hand, speaks to the inevitability of time, both fragile and unyielding. The piece combines subtle yet striking layers of ceramic textures, representing the layers of our lives and experiences. The slow, inevitable approach of the “final hour” is captured in the way the piece shifts from sharp, defined lines to soft, eroded surfaces, creating a poignant reminder of life’s impermanence.