- Julius Baer Next Generation Art Prize
- Payal Uttam | Vanguards & Visionaries
- Coming soon - Art x Action Film Festival Part II: On view from 1-27 December 2020
- The Business Times | Art returns with a vengeance
- Lianhe Zaobao 联合早报 | 新加坡画廊协会首办画廊周末
- The Straits Times ‘Lifestyle’| Arts Picks: Art After Dark, Mozart’s Idomeneo with the Opera People
- Happy Birthday to Sarah Choo Jing! | 29 March 2019
- Dazed and Confused Magazine | Sarah Choo Jing | March 2019
- The Jakarta Post | Audrey Yeo | 13 Feb 2019
- Buro 24/7 Singapore | Audrey Yeo | 24 Sept 2018
- The Art Newspaper | Audrey Yeo | 17 Jan 2019
- Lost and Found - Fyerool Darma | Institute of Contemporary Arts Singapore | 2 Feb to 10 Apr 2019
- Made In Paint, 2019! - Merryn Trevethan | The Sam and Adele Golden Gallery | 6 Apr 2019
- PASSPORT – OH! Open House - Mike HJ Chang | 30 Mar to 31 Mar 2019
- Phytopia - Yu-Chen Wang | Glynn Vivian Art Gallery, Swansea, United Kingdom | 16 Feb to 26 May 2019
- Side exhibition - Quynh Dong | Johann Jacobs Museum | 4 Feb to 5 May 2019
- Scripts, Traces, and the Unpredictable - Xue Mu | Pearl Lam Galleries, Shanghai, China
- Blouin Modern Painters | TOP 10 Asian Artists to Watch: Sarah Choo Jing | March 2019
- Melting! Melting! - Mike HJ Chang | Gillman Barracks | 15 March to 7 Apr 2019
- We Hesitate to Wash Ourselves in Muddy Water - Mike HJ Chang | Telok Ayer Arts Club
- prep-room - DRILLS | B-SIDES: After Ballads by Fyerool Darma | 27 February 2019
- OCULA | Yeo Workshop | August 2018
- The Sydney Morning Herald | Merryn Trevethan | August 2018
- Seine Saint Denis Tourisme | Maryanto – Java Art Energy | 27 Sept 2018 – 24 February 2019
- ASIA NOW PARIS | Accelerated Intimacy by artist Sarah Choo | 17-21 October 2018
- Asia Art Activism | Fyerool Darma, ‘Circulations’ - Flow | 4-6 October 2018
- Nusasonic | Duto Hardono | 2-13 October 2018
- Whiteboard Journal | Duto Hardono’s solo show, ‘Words’ | 24-29 September 2018
- Edel Assanti | Marcin Dudek at Manifesta 12 | 15 June to 4 November 2018
- Untitled Miami | Marcin Dudek | 5 to 10 Dec 2018
- Gordon Cheung’s Spotify Top 10 | Alan Cristea
- ColArt | Gordon Cheung | Jun 2018
- Griot | Marcin Dudek | June 2018
- How To Kill A Tree - Edward Clydesdale Thomson | Huize Frankendael, Amsterdam | 27-28 Jun & 4-5 Jul
- The Art Newspaper | Marcin Dudek | June 2018
- Wear You All Night - Sarah Choo Jing | Centre for Contemporary Arts, Scotland | 1 Jul 2018
- 250th Summer Exhibition - Gordon Cheung | Royal Academy of Arts, London | 12 Jun to 19 Aug 2018
- Giochi Senza Frontiere - Marcin Dudek | Manifesta 12 Palermo, Italy | 15 Jun to 4 Nov 2018
- We Stop to Watch the World Go By - Sarah Choo Jing | Peranakan Museum | 7pm - 20 July 2018
- Doubting Thomas - Gordon Cheung | Duddells, London | 25 Apr to 24 Sep 2018
- Commission materialized by Edward Clydesdale Thomson of a Garden, Garden Fence, The Non Urban Garden
- Psychedelic and Conceptualism, De Apple Art Center, Amsterdam, NL, 27 September - 30 November 2014
- Art In The Face of Radical Evil*, A vacation at The Air Inn Venice, Los Angeles, CA, 18 - 28 May 201

The Party’s Over – Merryn Trevethan | Australian High Commission | 10 Aug to 30 Sep 2016
Trevethan is an Australian Artist living and working in Singapore. Her selected engagements include being recently awarded First Prize for the DRIVE – Gillman Barracks Public Art Open Call for her work “Accelerator City. In 2015, Trevethan was commissioned to create artwork for the new Facebook headquarters at South Beach Tower, Singapore, and is currently in the process of expanding this project. This is her first solo exhibition at the Australian High Commission and marks a chapter of her practice.
Her geometric abstract forms are made of fields of colour, carefully delineated with varying hues. Her lines emulate outlines of skyscrapers or landmarks. Fields of contrasting and complementary colours abut each other. Unlike a cityscape or a landscape painting, Trevethan’s paintings do not have a horizon or a vanishing point. Instead, lines and swatches of colours depict distance and depths.
One series of works in this exhibition gets its inspiration from Trevethan’s observations of building construction in Singapore. In a city that is constantly in flux and is continuously re-inventing itself, the mechanical crane – a necessary machine for building high-rise apartment blocks and office skyscrapers – is a ubiquitous sight throughout Singapore. “Built to Suit” consists of five panels. Placed side by side, the five panels form a landscape pentaptych. The main subject of the painting, the crane, is represented throughout the pentaptych’s five panels, albeit in a subtle manner. Lines that cross each other form subtle ghosts of cranes. Angular forms of cranes in lighter hues look like cardinal arrows, as if a stand-in moral compass, questioning us city dwellers with what our obligations and duties to one another are.
As a colour expert, Merryn Trevethan depicts landscape through colour. Colour is not used as a decoration or to beautify - the function of colour is to define space and not merely for aesthetic purposes. In this particular series of paintings, she uses a combination of purple, maroon, and violet. The composition of the paintings suggests that the darker hues are closer to us, while the lighter colours suggest space that recedes further away. This spatial connectedness and associations with depth subverts the idea of positive and negative spaces. Spatial depth is not defined by a horizon line nor recedes along a vanishing line. Instead, by using varying hues, Trevethan manipulates space, coming from the ground or from the ceiling. The combination of colours and the ability to work with colour exhibits a high degree of control and expertise.
Merryn Trevethan’s practice stems from the tradition of abstract painting coupled with influences from Cubism. Just as Cubism eschewed the horizon line and collapses space, Trevethan’s paintings collapse place and time. At the same time, Trevethan develops her own language of abstraction.
Important information: The show will be open from now till 30 September 2016 at the Australia High Commission, please note ID is required for security clearance. There is no parking on site, closest parking is Dempsey area.