2025
HFBK Hamburg
As Part of “Measured, Mapped, Monetized”, Jahressaustellung 2025
Acrylic, Inkjet on Aluminium, Text
76 16mm Cubes
2023
Shimano Cycling World
Curated by Rose Wei
Various Objects, Print on Bicycle Trailer
This project is supported by the Platform Projects Curatorial Award overseen by NTU Centre for Contemporary Art Singapore @ntu_ccasingapore.
Photography by Jonathan Tan
2022
Faux bronze vase, wood, primer and acrylic paint
64 x 13 x 13 cm
Since 2020, Paradise Now has been amalgamating incompatible elements — from conflicting histories to personal experiences, painting to emergent media to reflect on the complexities of our lives and our conditions.
Here, the duo continues this thread of inquiry by embracing the contrast between materials of opposing nature.
Intervening with a faux bronze sculpture originally displayed in Sidley Austin’s Singapore lobby, the work is reconfigured with wood to resemble an artillery shell.
“Please return all stolen artefacts” represents the artists’ rumination around broader topics of international contestation of property and the origins of cultural artefacts.
23.07.2022
I_S_L_A_N_D_S
Today I walked in the sun and streets
of this city: seeing nothing, learning nothing,
being nothing, and coming back to my room
Good Day is a response to the conditions of season. The collective in transit touches on the idea of physical displacement yet remaining in synergy during the course of their practice.
Employing the visual language that Paradise Now has forged from over two years of working together, Good Day is a transmutation of images and subject matters that influence them, along with their thoughts and memories - as a collective and as individuals.
of this city: seeing nothing, learning nothing,
being nothing, and coming back to my room
-Burning in Water, Drowning in Flame by Charles Bukowski
Good Day is a response to the conditions of season. The collective in transit touches on the idea of physical displacement yet remaining in synergy during the course of their practice.
Employing the visual language that Paradise Now has forged from over two years of working together, Good Day is a transmutation of images and subject matters that influence them, along with their thoughts and memories - as a collective and as individuals.
03.2022
Shopfront collaboration with @Neighborinyourhood
Vinyl print, Frogtape, Custom LED letters, Privacy Window Film, Mirror Finished Aluminium Composite Panel
10.07.2021
Curated by Louis Ho
It’s Not Even the End of the Day (2021)
Acrylic Paint, PVC banner, Deck Chair, Ceramic Tiles, Wood, Metal Box, Windshield and Beer Cans
Acrylic Paint, PVC banner, Deck Chair, Ceramic Tiles, Wood, Metal Box, Windshield and Beer Cans
Conceptualized as an installative assemblage, It’s Not Even the End of the Day was influenced by the Arte Povera movement and the visuality of the Californian squatter community, Slab City, embodying attitudes of nonchalance, indifference and defiance.
The work consists of a deck chair on a tiled platform and a box of beer cans. An image of a wooded area is reproduced on the canvas of the chair, and a slice of graffiti intersects the platform. In the spirit of summer vibes, this assemblage represents a staged utopia, holding out the promise of a camping experience at the end of the world, with a potted plant added to the work to maintain some semblance of life in an apocalyptic atmosphere.
Welcome to Paradise (2021)
Metal Lightbox with Sticker, Card and Acrylic Sheets
Metal Lightbox with Sticker, Card and Acrylic Sheets
Welcome to Paradise is reminiscent of the repurposed salvage that comprises California’s Slab City, as well as pawn shop signage once a common part of Singapore’s urban fabric. The lightbox features, on one side, the personal phone numbers of the Paradise Now artists, and the collective’s logo. On the other are the lyrics to the song, “The End of the World”, first made popular by Skeeter Davis in 1962, in the form of the BSoD (blue screen of death), an error screen displayed on the Windows operating system following a crash. The artists remark: “We like the visual element of lit signage, and the humorous aspect of self-advertising without any indicated service. There is nothing to figure out except to enjoy the words to Skeeter’s song.” Here, the lightbox masquerades as salvage, utilized as the decorative identity marker of a reconstructed dwelling.
Silkscreen and Mixed Media on Watercolour Paper
A campsite is a safe harbour, and perhaps even home to some. To personalise their deconstructed campsite, the two artists of Paradise Now have included aniconic self-portraits in the form of zeroing target sheets. Such sheets are used to calibrate and zero firing arms, before hunting, by collecting data through bullet holes statistics. Using prints of a modified zeroing sheet as a base for their drawings, “the imagery here”, the artists observe, “is emblematic of our being.”
11.08.2020
SPRMRKT @ Dempsey Hill
In their bid to understand and be understood, they are intrigued by the formation of personalities, as well as their influence over an individual and subsequently collective existence. This series of works sees them explore the multiple facets that contribute to one’s personality, investigating its involvement in their creative process from conceptualisation to production.
Approaching the creation of this series as a project, this showcase becomes an essential foundation for discovering and understanding their dynamics as a creative duo.
02.2020
Studio Batur and C.on.temporary
Bandung
Through the different construct of perception, the artworks in this exhibition space contribute to a multi-faceted collective of Bandung, and in extention, Southeast Asia.