Fyerool Dharma, l❤️ndsc_₱€$s (poienxcinoti) featuring rawanxberdenyut, Aleezon, Lee Khee San, Lé Luhur from NUS Museum’s South and Southeast Asia Collection and Autaspace, CC1, Dahlia, Alawiyah and 风), 2023. polymethyl metacrylate (Plexiglas Tiger), epoxy resin (Samurai 2K) on synthetic polymer paint (Golden), chameleon carbon fiber polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminum alloy, honeycomb retroreflective tape (GripOn), non metalized reflective tape (Steve & Leif) on polyvinyl chloride on wood on polymethl metacrylate, varied textiles salvaged and woven with polyester thread, xylene on polyvinyl chloride. 413 × 1730 cm. Commissioned by the 12th Seoul Mediacity Biennale and National Arts Council, Singapore. Courtesy of the artist. The 12th Seoul Mediacity Biennale THIS TOO, IS A MAP. Seoul Museum of Art. 2023. Photo: glimworkers
Fyerool Dharma, l❤️ndsc_₱€$s (poienxcinoti) featuring rawanxberdenyut, Aleezon, Lee Khee San, Lé Luhur from NUS Museum’s South and Southeast Asia Collection and Autaspace, CC1, Dahlia, Alawiyah and 风), 2023. polymethyl metacrylate (Plexiglas Tiger), epoxy resin (Samurai 2K) on synthetic polymer paint (Golden), chameleon carbon fiber polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminum alloy, honeycomb retroreflective tape (GripOn), non metalized reflective tape (Steve & Leif) on polyvinyl chloride on wood on polymethl metacrylate, varied textiles salvaged and woven with polyester thread, xylene on polyvinyl chloride. 413 × 1730 cm. Commissioned by the 12th Seoul Mediacity Biennale and National Arts Council, Singapore. Courtesy of the artist. The 12th Seoul Mediacity Biennale THIS TOO, IS A MAP. Seoul Museum of Art. 2023. Photo: glimworkers
Fyerool Dharma, l❤️ndsc_₱€$s (poienxcinoti) featuring rawanxberdenyut, Aleezon, Lee Khee San, Lé Luhur from NUS Museum’s South and Southeast Asia Collection and Autaspace, CC1, Dahlia, Alawiyah and 风), 2023. polymethyl metacrylate (Plexiglas Tiger), epoxy resin (Samurai 2K) on synthetic polymer paint (Golden), chameleon carbon fiber polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminum alloy, honeycomb retroreflective tape (GripOn), non metalized reflective tape (Steve & Leif) on polyvinyl chloride on wood on polymethl metacrylate, varied textiles salvaged and woven with polyester thread, xylene on polyvinyl chloride. 413 × 1730 cm. Commissioned by the 12th Seoul Mediacity Biennale and National Arts Council, Singapore. Courtesy of the artist. The 12th Seoul Mediacity Biennale THIS TOO, IS A MAP. Seoul Museum of Art. 2023. Photo: glimworkers
Fyerool Dharma, l❤️ndsc_₱€$s (poienxcinoti) featuring rawanxberdenyut, Aleezon, Lee Khee San, Lé Luhur from NUS Museum’s South and Southeast Asia Collection and Autaspace, CC1, Dahlia, Alawiyah and 风), 2023. polymethyl metacrylate (Plexiglas Tiger), epoxy resin (Samurai 2K) on synthetic polymer paint (Golden), chameleon carbon fiber polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminum alloy, honeycomb retroreflective tape (GripOn), non metalized reflective tape (Steve & Leif) on polyvinyl chloride on wood on polymethl metacrylate, varied textiles salvaged and woven with polyester thread, xylene on polyvinyl chloride. 413 × 1730 cm. Commissioned by the 12th Seoul Mediacity Biennale and National Arts Council, Singapore. Courtesy of the artist. The 12th Seoul Mediacity Biennale THIS TOO, IS A MAP. Seoul Museum of Art. 2023. Photo: glimworkers
Fyerool Dharma, l❤️ndsc_₱€$s (poienxcinoti) featuring rawanxberdenyut, Aleezon, Lee Khee San, Lé Luhur from NUS Museum’s South and Southeast Asia Collection and Autaspace, CC1, Dahlia, Alawiyah and 风), 2023. polymethyl metacrylate (Plexiglas Tiger), epoxy resin (Samurai 2K) on synthetic polymer paint (Golden), chameleon carbon fiber polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminum alloy, honeycomb retroreflective tape (GripOn), non metalized reflective tape (Steve & Leif) on polyvinyl chloride on wood on polymethl metacrylate, varied textiles salvaged and woven with polyester thread, xylene on polyvinyl chloride. 413 × 1730 cm. Commissioned by the 12th Seoul Mediacity Biennale and National Arts Council, Singapore. Courtesy of the artist. The 12th Seoul Mediacity Biennale THIS TOO, IS A MAP. Seoul Museum of Art. 2023. Photo: glimworkers
Fyerool Dharma, l❤️ndsc_₱€$s (poienxcinoti) featuring rawanxberdenyut, Aleezon, Lee Khee San, Lé Luhur from NUS Museum’s South and Southeast Asia Collection and Autaspace, CC1, Dahlia, Alawiyah and 风), 2023. polymethyl metacrylate (Plexiglas Tiger), epoxy resin (Samurai 2K) on synthetic polymer paint (Golden), chameleon carbon fiber polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminum alloy, honeycomb retroreflective tape (GripOn), non metalized reflective tape (Steve & Leif) on polyvinyl chloride on wood on polymethl metacrylate, varied textiles salvaged and woven with polyester thread, xylene on polyvinyl chloride. 413 × 1730 cm. Commissioned by the 12th Seoul Mediacity Biennale and National Arts Council, Singapore. Courtesy of the artist. The 12th Seoul Mediacity Biennale THIS TOO, IS A MAP. Seoul Museum of Art. 2023. Photo: glimworkers
Fyerool Dharma, l❤️ndsc_₱€$s (poienxcinoti) featuring rawanxberdenyut, Aleezon, Lee Khee San, Lé Luhur from NUS Museum’s South and Southeast Asia Collection and Autaspace, CC1, Dahlia, Alawiyah and 风), 2023. polymethyl metacrylate (Plexiglas Tiger), epoxy resin (Samurai 2K) on synthetic polymer paint (Golden), chameleon carbon fiber polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminum alloy, honeycomb retroreflective tape (GripOn), non metalized reflective tape (Steve & Leif) on polyvinyl chloride on wood on polymethl metacrylate, varied textiles salvaged and woven with polyester thread, xylene on polyvinyl chloride. 413 × 1730 cm. Commissioned by the 12th Seoul Mediacity Biennale and National Arts Council, Singapore. Courtesy of the artist. The 12th Seoul Mediacity Biennale THIS TOO, IS A MAP. Seoul Museum of Art. 2023. Photo: glimworkers
Fyerool Dharma, l❤️ndsc_₱€$s (poienxcinoti) featuring rawanxberdenyut, Aleezon, Lee Khee San, Lé Luhur from NUS Museum’s South and Southeast Asia Collection and Autaspace, CC1, Dahlia, Alawiyah and 风), 2023. polymethyl metacrylate (Plexiglas Tiger), epoxy resin (Samurai 2K) on synthetic polymer paint (Golden), chameleon carbon fiber polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminum alloy, honeycomb retroreflective tape (GripOn), non metalized reflective tape (Steve & Leif) on polyvinyl chloride on wood on polymethl metacrylate, varied textiles salvaged and woven with polyester thread, xylene on polyvinyl chloride. 413 × 1730 cm. Commissioned by the 12th Seoul Mediacity Biennale and National Arts Council, Singapore. Courtesy of the artist. The 12th Seoul Mediacity Biennale THIS TOO, IS A MAP. Seoul Museum of Art. 2023. Photo: glimworkers
Fyerool Dharma, l❤️ndsc_₱€$s (poienxcinoti) featuring rawanxberdenyut, Aleezon, Lee Khee San, Lé Luhur from NUS Museum’s South and Southeast Asia Collection and Autaspace, CC1, Dahlia, Alawiyah and 风), 2023. polymethyl metacrylate (Plexiglas Tiger), epoxy resin (Samurai 2K) on synthetic polymer paint (Golden), chameleon carbon fiber polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminum alloy, honeycomb retroreflective tape (GripOn), non metalized reflective tape (Steve & Leif) on polyvinyl chloride on wood on polymethl metacrylate, varied textiles salvaged and woven with polyester thread, xylene on polyvinyl chloride. 413 × 1730 cm. Commissioned by the 12th Seoul Mediacity Biennale and National Arts Council, Singapore. Courtesy of the artist. The 12th Seoul Mediacity Biennale THIS TOO, IS A MAP. Seoul Museum of Art. 2023. Photo: glimworkers
Fyerool Dharma, l❤️ndsc_₱€$s (poienxcinoti) featuring rawanxberdenyut, Aleezon, Lee Khee San, Lé Luhur from NUS Museum’s South and Southeast Asia Collection and Autaspace, CC1, Dahlia, Alawiyah and 风), 2023. polymethyl metacrylate (Plexiglas Tiger), epoxy resin (Samurai 2K) on synthetic polymer paint (Golden), chameleon carbon fiber polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminum alloy, honeycomb retroreflective tape (GripOn), non metalized reflective tape (Steve & Leif) on polyvinyl chloride on wood on polymethl metacrylate, varied textiles salvaged and woven with polyester thread, xylene on polyvinyl chloride. 413 × 1730 cm. Commissioned by the 12th Seoul Mediacity Biennale and National Arts Council, Singapore. Courtesy of the artist. The 12th Seoul Mediacity Biennale THIS TOO, IS A MAP. Seoul Museum of Art. 2023. Photo: glimworkers
Fyerool Dharma, l❤️ndsc_₱€$s (poienxcinoti) featuring rawanxberdenyut, Aleezon, Lee Khee San, Lé Luhur from NUS Museum’s South and Southeast Asia Collection and Autaspace, CC1, Dahlia, Alawiyah and 风), 2023. polymethyl metacrylate (Plexiglas Tiger), epoxy resin (Samurai 2K) on synthetic polymer paint (Golden), chameleon carbon fiber polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminum alloy, honeycomb retroreflective tape (GripOn), non metalized reflective tape (Steve & Leif) on polyvinyl chloride on wood on polymethl metacrylate, varied textiles salvaged and woven with polyester thread, xylene on polyvinyl chloride. 413 × 1730 cm. Commissioned by the 12th Seoul Mediacity Biennale and National Arts Council, Singapore. Courtesy of the artist. The 12th Seoul Mediacity Biennale THIS TOO, IS A MAP. Seoul Museum of Art. 2023. Photo: glimworkers
A painter by training, artist Fyerool Darma integrates sound, video, new media, sculpture, and craft practices into his recent installation works, which juxtapose the aesthetics and ideology of modernism alongside Southeast Asian cultures, histories, aesthetics, and politics. He has gradually developed a complex visual vocabulary that draws from sources including tangible and intangible Malay heritage, the Internet, literature, popular culture, the history of craft, visual arts, manufacturing, and manual labor. He also repurposes salvaged textiles, ewaste, found images, paintings, and other materials as part of a collaborative process with other artists and producers that blurs the boundaries of authorship in his works. Darma’s ongoing research into modernist forms and Southeast Asian vocabularies is encapsulated in l❤️ndsc_₱€$s (poienxcinoti) featuring rawanxberdenyut, Aleezon, Lee Khee San, Lé Luhur from NUS Museum’s South and Southeast Asia Collection and Autaspace, CC1, Dahlia, Alawiyah and 风) new commission by SMB12. This wall installation features patterns from online accessible archives, stock images, as well as polymeric paintings, drawings, and upcycled banners of Singapore’s national campaigns to collectively evoke the complex history of colonialism, postwar technomilitaryindustrialization, and contemporary climate crisis, all of which are situated amid a tropical postapocalyptic and postInternet landscape.
