{"id":3786,"date":"2025-11-25T12:15:03","date_gmt":"2025-11-25T04:15:03","guid":{"rendered":"https:\/\/glutenfreepleasure.com\/__proxy_domain\/prestigearts.com.sg\/?p=3786"},"modified":"2026-06-24T13:38:47","modified_gmt":"2026-06-24T05:38:47","slug":"cry-now","status":"publish","type":"post","link":"https:\/\/glutenfreepleasure.com\/__proxy_domain\/prestigearts.com.sg\/cry-now\/","title":{"rendered":"Cry Now"},"content":{"rendered":"

<\/div>

Cry Now<\/i><\/h1><\/div>

Group Exhibition<\/h3>\n

Chen Chunmu
\nDesmond Mah
\nKanoko Takaya
\nPearl C. Hsiung
\nRick Shi
\nTan Sock Fong
\nTeo Huey Ling<\/p>\n

10 Jan – 22 Feb 2026
\nTue – Sun: 11am – 7pm<\/p>\n<\/div><\/div><\/div>

\"Poster\"<\/span><\/div><\/div><\/div><\/div><\/div>

Exhibition Details:<\/h4>\n

Cry Now<\/em><\/strong><\/p>\n

Group Exhibition<\/p>\n

Artists: Chen Chunmu | Desmond Mah | Kanoko Takaya | Pearl C. Hsiung | Rick Shi | Tan Sock Fong | Teo Huey Ling<\/p>\n

Curator: Kenneth Liu Chenhao
\nCuratorial Team: Rick Shi, Audrey Zhang, Yan Li, Freya Zhang, Shuyu Liu<\/p>\n

*Non-profit Partner: The International SeaKeepers Society Asia<\/p>\n

*Part of Singapore Art Week 2026<\/p>\n

*Artist Desmond Mah is supported by the Department of Creative Industries, Tourism and Sport (Western Australia)<\/p>\n

Exhibition Press Release | Download here<\/a><\/strong><\/h5>\n<\/div>

Opening Reception<\/h4>\n

Saturday, 10 Jan 2026<\/p>\n

15:00 – 18:00<\/p>\n

Guest of Honour: Mr Lee Hong Chuang PBM BBM<\/p>\n

\u200bPrestige Gallery (39 Keppel Rd #03-01, Tanjong Pagar Distripark, Singapore 089065)<\/p>\n

RSVP\u200b | Please click here<\/a><\/strong><\/h5>\n<\/div>
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In the noise of constant information and overstimulated senses, many subtle emotions sink beneath the surface. In the hurried rhythm of city life, fragile ecosystems and living beings are quietly pushed to the margins.<\/span><\/p>\n

Cry Now<\/span><\/i> began with a conversation with artist Pearl C. Hsiung. During that exchange, we became aware of a subtle reality: while contemporary society works hard to conceal individual vulnerability, it has also grown increasingly desensitized to the fragility of the environment. There appears to be a connection between the two: our neglect of our own emotions often mirrors a growing indifference toward the world.<\/span><\/p>\n

The exhibition takes \u201ccrying,\u201d a seemingly private emotion and physical response, as its point of departure and invites viewers to reconnect with the deeper currents of feeling, to sense and confront the emotions arising in the present moment, and to recognize the fragile ties between people and the natural world.<\/span><\/p>\n

Cry Now<\/span><\/i> does not seek to create a heavy or pessimistic atmosphere. Instead, it aims to leverage artistic expression and viewer engagement into a process where vulnerability becomes awareness and heaviness gives way to a strength that is both lighter and enduring.<\/span><\/p>\n

The exhibition brings together seven artists working across different cultural contexts, with works spanning painting, installation, and sculpture. These creations become channels for emotion, inviting resonance, reflection, and release. They gently encourage viewers to respond to nature and the world through action, and to rediscover the capacity to feel and care for themselves, others, and the environment.<\/span><\/p>\n<\/div>

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Featured Artists<\/h3><\/div><\/div><\/div><\/div><\/div>

Chen Chunmu<\/strong><\/h4>\n

Chen Chunmu \u9648\u6625\u6728 (b. 1981) graduated from the Oil Painting Department of the Fine Arts College of Fujian Normal University in 2003. Mysterious creatures and plants \u2013 enigmatic imagery that seems to be derived from the artist\u2019s dreams \u2013 characterise his surrealist paintings, which are rendered in subtle colours with flowing brushstrokes. The hybrid beings that Chen creates are a way of reflecting on childhood memories of exploring the deep mountains and forests in his hometown. Yet they also convey the ambivalent feelings experienced by many of his generation about the uncertainty of life in a rapidly changing world. Since 2002, Chen has participated in numerous group exhibitions around the world. His work Floweriness was presented at the Song Zhuang Art Museum in Beijing in 2006 and was later acquired by the White Rabbit Museum in Australia. In 2007, he took part in the show titled Gathering: Nine Artists’ Exhibition of Contemporary Art at Quac Art Space, Beijing. In 2010, his works were included in The Big Bang at the White Rabbit Museum in Australia and The World Around: Exhibition of Ten at the Gehua Museum in Beijing.<\/p>\n

In 2013, Chen participated in The First China-ASEAN Biennale in Guangxi, China. In 2014, he participated in the Fujianese Contemporary Art Exhibition, Soka Gakkai Malaysia, Malaysia, Art Expo Malaysia Sdn. Bhd., Kuala Lumpur, Malaysia. That year he also showed work in New Horizons: Young Artist New Works at 798 Arts Center in Beijing and A Life Without the Thrill of the Order at the Hong Kong Museum of Art. In 2015, his work was included in Meta Vision: Seven Unique Languages’ Personal History at Rainbow Wall Art Gallery in Beijing. Now, Chen Chunmu lives and works in Beijing.<\/p>\n<\/div><\/div><\/div>

<\/span><\/div>

Withered Tree in Spring \u2013 02<\/strong><\/em>
\n2024
\nOil on canvas
\n200 x 180 cm<\/p>\n<\/div>

<\/span><\/div>

Warm Breeze \u2013 03<\/strong><\/em>
\n2025
\nOil on canvas
\n90 x 73 cm<\/p>\n<\/div>

<\/span><\/div>

Jungle \u2013 Rhizome<\/strong><\/em>
\n2024
\nOil on canvas
\n25.5 x 25.5 cm<\/p>\n<\/div><\/div><\/div><\/div><\/div>

Desmond Mah\u00a0<\/strong><\/h4>\n

Desmond Mah \u9a6c\u798f\u6c11 (b. 1974, Singapore; Singaporean-Australian, based in Boorloo\/Perth) draws on the aesthetics of natural history illustration to examine colonial narratives. His work prompts broader conversations on decolonisation, cultural memory, and the politics of representation. Through his paintings, Mah addresses the entrenched structures of othering that sustain ideas of superiority and control, along with the systems and ideologies that uphold them. Incorporating expanded elements such as QR-linked audio, his practice creates immersive experiences. This multidisciplinary approach is shaped by his ADHD, which favours experimentation over routine. Mah earned a BA (Hons) in Painting from Loughborough University, UK (1998), supported by a Lee Foundation (Singapore) scholarship, and a diploma from LaSalle College of the Arts, Singapore (1997). Prior to beginning his practice in 2017, he worked in art education (secondary schools) and horticulture. Of Hainanese, Kinmen, and Singaporean descent, Mah migrated to Australia as a teenager in the 1980s, a period of heightened hostility towards the Asian diaspora in Boorloo. Mah’s achievements include the E.SUN Bank Special Selection Prize (Taiwan, 2022) and the Southern Buoy Studios Portrait Prize (Australia, 2021). He has been awarded grants and participated in numerous exhibitions, residencies, and commissions, notably the Fremantle Arts Centre Studio Program (2023) and two Red Gate Residencies (Beijing, 2018). His works are held in notable collections. Exhibition highlights include Inside-Out Art Museum (Beijing, 2025), the Collie Art Prize 2025 finalist and the Indian Ocean Craft Triennial at Mossenson Galleries (Australia, 2024).<\/p>\n<\/div><\/div><\/div>

<\/span><\/div>

A Tyrant at Koorabup<\/strong><\/em>
\n2024
\nMixed media on rice paper board
\n38 x 87 x 3 cm<\/p>\n<\/div>

<\/span><\/div>

Lunch at This Zoo<\/strong><\/em>
\n2025
\nAcrylic and mixed media on canvas
\n120 x 100 x 2 cm<\/p>\n<\/div>

<\/span><\/div>

The Workers in That Enclosure<\/strong><\/em>
\n2025
\nAcrylic and mixed media on canvas
\n120 x 100 x 2 cm<\/p>\n<\/div><\/div><\/div><\/div><\/div>

Kanoko Takaya<\/strong><\/h4>\n

Kanoko Takaya \u9ad8\u5c4b \u4f73\u4e43\u5b50 (b.1991) is an artist from Kyoto, Japan whose works explore the relationship between the human body, emotions, and self-discovery. She expresses these themes through the use of tactile and organic forms, as well as a vast exploration of materials. In 2016, Kanoko moved to Bali, where she began to focus on introspection and discovering her inner self as an individual. In the process, she began using a variety of materials in her practice as a medium of self-expression. Her work attempt to transcend the boundaries of painting and sculpture by her endless experiments and unconventional use of techniques. Kanoko\u2019s works are characterized by curves and textures that evoke associations with the human body. As a result, her works often offer a sense of familiarity and intimacy to the audience.<\/p>\n

At the core of her work is the pursuit of discovering the inner-self through intuitive expression and conscious decisions. By engaging with shapes, symbols and textures in habitual ways, she is free to create visual rhythms that convey her ever-changing state of mind. Kanoko\u2019s approach in her practice embraces her ability to be emotional yet rational with her artistic process.<\/p>\n<\/div><\/div><\/div>

<\/span><\/div>

Yuuhi (Sunset)<\/strong><\/em>
\n2025
\nAcrylic, japanese clay, resin, putty, epoxy on stitched foam-filled canvas
\n28.5 x 22.5 x 6.5 cm<\/p>\n<\/div>

<\/span><\/div>

Koyake (Small Night View)<\/strong><\/em>
\n2025
\nAcrylic, japanese clay, resin, putty, epoxy on stitched foam-filled canvas
\n29 x 22.5 x 8 cm<\/p>\n<\/div>

<\/span><\/div>

Gyutt and Kiku (Hugging)<\/strong><\/em>
\n2023
\nMixed media on wood
\n112 x 94 x 19 cm \/ 112 x 95 x 18 cm<\/p>\n<\/div><\/div><\/div><\/div><\/div>

Pearl C. Hsiung<\/strong><\/h4>\n

Pearl C. Hsiung \u718a\u5bb6\u73cd (b. 1973) is an American Multimedia artist born in Taiwan and currently residing in Los Angeles. Raised and educated in California, she earned her Bachelor of Arts degree from the University of California, Los Angeles, in 1997 and her Master of Fine Arts degree from Goldsmiths, University of London, in 2004. Initially working in commercial fashion design, Pearl soon realised it was not fulfilling and transitioned to artistic creation. Her works reflect her Taiwanese heritage and her upbringing in Los Angeles, employing bright colours, bold application techniques, and imagery influenced by the everyday and pop aesthetics of both cultures.<\/p>\n

Hsiung\u2019s art is characterised by its boldness and innovation, using hand-crafted imitations of computer graphics and mural-like vibrant colours to create a lively and fantastical artistic world. Humer is often employed in her works to critique cultural identity and challenge conventional notions of art creation.<\/p>\n<\/div><\/div><\/div>

<\/span><\/div>

Simurgh II<\/strong><\/em>
\n2017
\nOil-based enamel and acrylic on canvas
\n198 x 152.4 cm<\/p>\n<\/div>

<\/span><\/div>

CRY NOW (J.B.B.D.B)<\/strong><\/em>
\n2025
\nAcrylic paint and sumi ink on watercolor paper
\n106.7 x 88.9 cm<\/p>\n<\/div>

<\/span><\/div>

Shecretes<\/strong><\/em>
\n2008
\nOil-based enamel on canvas
\n172.7 x 132 cm<\/p>\n<\/div><\/div><\/div><\/div><\/div>

Rick Shi<\/strong><\/h4>\n

Rick Shi \u77f3\u82ae\u8c6a (b. 1993) is an artist and curator whose practice spans painting, moving image, and visual narrative. Trained at the University of Electronic Science and Technology of China, Sichuan Normal University, and the Sichuan Fine Arts Institute, he works between traditional oil painting and contemporary conceptual approaches.<\/p>\n

Shi\u2019s work examines the subtle links between people, objects, and social structures. Since 2022, he has focused on symbolic relational systems\u2014such as the \u201cfood chain\u201d and \u201ccharacter chain\u201d\u2014and the power, ethics, and behaviours embedded within them. Through layered composition and narrative-driven colour, he turns these inquiries into visually striking and conceptually grounded paintings. His works have been exhibited in China and Europe and are held in several European collections.<\/p>\n

Shi founded Artistic Clouds in 2019 and has served as Director of Prestige Gallery since 2022, where he oversees artist collaborations, exhibition programming, and curatorial development. His curatorial projects integrate art-historical insight with contemporary social observation, addressing public and timely cultural questions.<\/p>\n<\/div><\/div><\/div>

<\/span><\/div>

Human\u2013Food Chain Series I<\/strong><\/em>
\n2025
\nOil on recycled wood panel
\n27 x 32.5 cm<\/p>\n<\/div>

<\/span><\/div>

Human-Food Chian<\/strong><\/em>
\n2025
\nOil on recycled wood panel
\n27 x 32.5 cm<\/p>\n<\/div>

About Human-Food Chain Series<\/em><\/strong><\/h5>\n

Human-Food Chain Series<\/em>\u00a0grew out of a simple dinner that prompted Shi to reconsider how humans choose what becomes \u201cfood\u201d\u2014and what happens if that relationship is reversed. The series constructs an inverted world where animals, food, and people exchange roles, exposing the fragility of human-centred logic.<\/p>\n

By disrupting familiar viewing habits, Shi questions assumptions about survival, choice, and power. The works extend beyond ecology to reflect on broader social structures\u2014the dependencies, conflicts, and shifting dynamics between individuals, groups, humans, and objects. The series ultimately probes the mechanisms that shape both human behaviour and civilisation itself.<\/p>\n<\/div><\/div><\/div><\/div><\/div>

Tan Sock Fong<\/strong><\/h4>\n

Glass artist and printmaker Tan Sock Fong \u9648\u6dd1\u82b3 (b. 1966) was a recipient of the Mobil Art Scholarship in 1988. She received her Bachelor\u2019s Degree in Art and Design (Hon) from the University of Wolverhampton (England) majoring in Glass in 1993, on a National Arts Council overseas study bursary.<\/p>\n

Beginning in the 1980s as a young artist, Sock Fong has also been a dedicated teacher and active supporter of the art scene in Singapore. Sock Fong shares her extensive experience and skills through her artwork and also through innovative art programmes at her studio at Emily Hill and at various local institutions. She has lectured\/taught at La Salle College of the Arts, Nanyang Academy of Fine Arts, Singapore Polytechnic and Nan Chiau High School.<\/p>\n<\/div><\/div><\/div>

<\/span><\/div>

Aequilibrium<\/strong><\/em>
\n2023
\nCast glass, fused glass, stone
\n11 x 32 x 9.5 cm<\/p>\n<\/div>

<\/span><\/div>

Ireland I<\/strong><\/em>
\n2023
\nCast glass, stone
\n23 x 23 x 4 cm<\/p>\n<\/div><\/div><\/div><\/div><\/div>

Teo Huey Ling<\/strong><\/h4>\n

Teo Huey Ling \u5f20\u6167\u73b2 (b. 1974) \u2019s artworks strive to achieve an ambiguous form, shifting biomorphic curves through repetition, overlapping, and juxtaposition. Her body of work includes several series, such as the Knitted Series, A Little Daydream, Amorphous, Convenes in Curves, and most recently, In-Between Curves. Each series has expanded versions made in different materials, including porcelain, merino wool, and wood.<\/p>\n

In her latest series, \u2018In-Between Curves\u2019, Teo\u2019s ceramic artworks delve into the subtle spaces between forms, inviting viewers to discover the negative space that emerges from the interplay of flowing, biomorphic curves. The series explores what exists \u2018in-between\u2019\u2014whether it is the space between opaque and translucent materials, or the harmony and contrast found among the interdependent curves. Beauty is created through clarity and ambiguity of these elements between these concave and convex surfaces.<\/p>\n

The works offer both structure and calmness, arising from the ideal of in-between-ness. Just as life often requires us to navigate not only the black or white, but the grey spaces in between, where possibilities, compromises, and subtle nuances lie. The fluidity of these forms speaks to the ever-shifting nature of our experiences, where answers are not always clear, and meaning is often found in those grey areas.<\/p>\n

Teo develops her personal visual language through mastering various technical skills, including hand-building, press-moulding, and slip-casting porcelain. Yet the overarching form remains organic, involving a complex visual interplay of curves, often resembling floral petals from every angle, inviting viewers\u2019 imagination and interpretation.<\/p>\n<\/div><\/div><\/div>

<\/span><\/div>

In-Between Curves Series Duo I<\/strong><\/em>
\n2024
\nSouthern ice porcelain
\n16 x 26 x 25 cm<\/p>\n<\/div>

<\/span><\/div>

In-Between Curves Series – White Circle II<\/strong><\/em>
\n2025
\nJingdezhen porcelain
\n44 x 41 x 18 cm<\/p>\n<\/div>

<\/span><\/div>

Amorphous Wood Series – Climb to the Clouds I &II<\/strong><\/em>
\n2018
\nKhaya wood
\n92 x 22 x 16 cm \/ 108 x 26 x 26 cm<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"

Chen Chunmu | Desmond Mah | Kanoko Takaya | Pearl C. Hsiung | Rick Shi | Tan Sock Fong | Teo Huey Ling
\n10 Jan – 22 Feb 2026
\nTue – Sun: 11am – 7pm
\nTanjong Pagar Distripark
\nSingapore<\/p>\n","protected":false},"author":9,"featured_media":3876,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[23],"tags":[118],"class_list":["post-3786","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-past","tag-en"],"yoast_head":"\nCry Now | Prestige Gallery<\/title>\n<meta name=\"description\" content=\"Prestige Gallery invites you to experience Cry Now, a group exhibition that brings together seven artists exploring vulnerability, emotional perception, and our fragile relationship with the natural world. Through painting, installation, and sculpture, the exhibition opens a quiet yet powerful space where personal emotion intersects with environmental awareness. 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