14 July 2023 — Cuturi Gallery to open its Summer Group Show

Stephanie Yeap, Plural Art Mag, July 14, 2023

If you’re looking to soak in some gorgeous art this weekend, be sure to check out Cuturi Gallery’s Summer Group Show!
 
On display is a selection of unique, breathtaking works by local artists, which explores themes of identity, emotion, human connection, and cultural narratives. We were particularly enamoured by Marla Bendini’s staggering painting of a person opening their rib cage to unveil a flaming bull’s skull, as well as Casey Tan’s dreamy painting of a pen-clutching boy napping beneath aeroplane infrastructure, decked out in bewitching tones of bubblegum pink and lime green.
 
Another notable development is Shen Jiaqi’s newfound exploration of women’s labour during the 1960s in Singapore, as she envisions women working in factories in her signature colour palette of dreamy twilight hues.
 
Some hauntingly memorable works include Faris Heizer’s poignant depiction of a man mourning a crushed snail and Oneal Parbo’s delicately rendered playground full of children, musicians, and chaotic goats. Other artists on display include Aisha Rosli, Claudia Koh, Israeli Ridhwan, Joel Seow, Khairulddin Wahab, and Vanessa Liem.
 
Cuturi Gallery’s Summer Group Show will run from 15 July – 27 August 2023.
 
Check out our images below for what to expect!
 
Marla Bendini’s You Should Wish To Have a Thousand Sets of Moth-wings, so You Could Burn Them Away, One Set a Night appears all-encompassing, with a person opening their chest and ribcage to reveal a large bull skull, immersed in flames. While many might perceive such visceral imagery to represent inner demons, the artist explains that the skull instead represents mortality, strength, and bravery.
 
Casey Tan’s Nap Fairies depicts an ethereal dreamscape, with a boy, clutching a pen and ruler, resting beneath an aeroplane-like structure, as small, gleaming comets of pink light pass him by.
 
 
(Left) For her painting Reimagination of Ocean Garment Factory, Shen decided to explore how women entered the Singaporean workforce as factory workers in the 1960s. She was prompted to delve into this history after learning that many of her female relatives joined the workforce then. (Right) A detail of the painting, with a woman with coiffed hair working in front of a sewing machine, surrounded by plants.
 
Joel Seow’s Garden Scene (Afterimage) (2023) is a ghostly still life of a white plastic chair in a darkened room. Look closely and you’ll see a plant behind the chair, as well as a pair of human feet–an ode to how one of the artist’s family members had recently passed on.
 
 (Left) Israfil Ridhwan’s Carbon Copy (2023) depicts a shirtless man with a small green pendant around his neck and rope loosely hanging from his biceps. The figure is depicted between two smaller paintings in the background, which feature the Biblical figures of Adam and Eve, to reflect on ideas of ancestral heritage. (Right) Aisha Rosli’s When I Feel, What I Feel (2023) features a blue-skinned woman hanging from a set of monkey bars. It’s night in the background, with the pale lights from buildings and streetlamps dreamily illuminating the figure. It’s clear that the figure is holding onto the bars tightly, with her face scrunched up–representing a decision to either continue holding on or let go.
 
 
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