Exhibition dates: 17 May - 6 July 2025
Artist Talk @ the Finissage 5 July 2025, 2 pm
Over the past four decades, Noor Mahnun, more widely known as Anum, has developed a painting practice grounded in observation, memory, and meticulous technique.
Her practice, largely figurative, comprises of domestic scenes and still life that fuses elements of realism, allegory and the whimsical. Everyday objects, interiors, and her environment are rendered in traditional European oil painting style—a lasting influence from her time doing at Hochschule für Bildende Künste, Braunschweig in Germany, where she completed her MFA in 1996. Carnations (2023) draws reference to Australian painter Clarice Beckett (1887-1935) and Anum’s penchant for Dutch floral paintings. While Sunflowers (2025) is a nod to Vincent Van Gogh, who has inspired much of her interest in botanical drawings, still life and compositions.
Anum’s thoughtfully constructed compositions weave together domestic scenes and figures from memories and moments in her life. Meticulously executed, they are a reflection of the artist’s wry observations of people and objects in her daily life. A closer look at her painted interiors will reveal profuse geometric patterns, worked seamlessly as tiled floors, mats, wallpaper and shophouses—a reflection of her ongoing interest with architecture in Malaysia and the region, as well as from Europe. Under her hand, the ubiquitous transforms into symbols and vessels for nostalgia, drawn from narratives in her life. In Baju Kurung (2025), Anum combines memories of past summers in Germany sewing her own summer dresses—a skill she had learnt from her grandmother, with her present interest in making her own ‘baju kurung’, a traditional attire in Malaysia. With outstretched arms, her figure projects a sense of surrender, teasing out the meaning of ‘kurung’, which translates to ‘enclosed’.
The exhibition’s title, “ANUM” reflects the deeply autobiographical nature of the show. These mise-en-scènes, charged with personal anecdotes, are tended to with careful attention, often with a playful humour.
Within these compositions, Anum wields a unique visual language informed by the geographies that she has experienced. Elements from her life and surroundings populate her paintings and sketches—a vintage Bee’s Queen brand Chinese Honey glass (from Anum’s personal collection), Georgetown penang tiles, a Mahl stick from her studio, and more. Grand Hotel (2025) recalls one of the abandoned buildings in Kuantan that had caught her eye as Anum became more conscious about selecting ‘painterly’ subjects. The rural landscapes of the east coast of Malaysia where she now resides, also quietly murmur in the background of several paintings, verdant and lush.
It is evident how the different geographies pervade the body of work that hangs on the gallery walls, which are painted a muted shade of terracotta—a nod to Singhora roof tiles. Singhora (or, Singgora) tiles are made from clay, kneaded and wedged by foot. A unique Malay heritage that is distinct to architectural features in the region, most commonly found in the east coast of the peninsula as well as Thailand.
At 60, Anum’s work continues to encompass a vibrant interplay of influences from Southeast Asia and the West—from painterly techniques to symbolic motifs, as informed by her personal experiences, and her wry observations of life. In turn they gesture towards broader commentary around femininity, labour and memory.
Marking her first solo presentation in Singapore, this show also commemorates her artistic debut at Video Diva, an artist-run space in Florence, Italy in 1985, 40 years on. For both the artist and the gallery, “ANUM” marks a pivotal chapter in unfolding the story of Southeast Asian contemporary art—one that foregrounds the nuanced contributions of women artists whose practices have long developed outside the spotlight, yet resonate with remarkable clarity today.
About the Artist
Born in 1964 in Kelantan, Malaysia, Noor Mahnun trained in architecture in the United States before pursuing her Master of Fine Arts in painting at Hochschule für Bildende Künste in Braunschweig, Germany. During her time in Europe, she held solo shows in Florence and across Germany, and upon returning to Malaysia, became an active figure in the local art scene — not only as an artist, but also as a curator, educator, and arts manager.
Her accolades include residencies at Rimbun Dahan (Malaysia) and Gunnery Studios (Australia), as well as a printmaking scholarship from the Italian Ministry of Foreign Affairs and a senior fellowship from the Nippon Foundation’s Asian Public Intellectuals program. Her works can be found in notable Malaysian collections, including that of the Khazanah Nasional Berhad, as well as highly regarded international collections.
Following her participation in international art fairs such as Frieze Seoul and NADA Miami in 2024, Anum’s work has gained renewed attention from collectors and institutions alike. Her quiet mastery and distinctive voice make her one of the most compelling mid-career artists from the region to watch.
About Yeo Workshop
Based in Singapore’s Gillman Barracks, Yeo Workshop is a contemporary art gallery championing bold, innovative practices from Southeast Asia. Its program spans traditional and new media, with a strong focus on critical engagement and regional impact. In 2025, the gallery will present a year-long series of events to deepen art appreciation and collecting. Highlights include landmark publications, artist talks, and workshops that connect collectors, artists, and the wider creative community. Through education and outreach, Yeo Workshop nurtures the next generation of artists and patrons.
