ART SG 2026
Forthcoming event
Overview
Booth FR01, Level 1
Marina Bay Sands Expo and Convention Centre, Singapore
For Art SG, Galeri Sasha presents a focused presentation anchored in painting as a primary medium. Bringing together works by Fadhli Ariffin, Ong Pei Yee, Zul Hanafi, and Paul Nickson Atia, the booth foregrounds the diverse ways a new generation of Malaysian artists are extending and reworking the language of painting. While unified by their commitment to the medium, each artist advances a distinct visual position—demonstrating the range, malleability, and continued relevance of painting today.
Together, the presentation positions painting as a flexible and responsive medium through which a generation of Malaysian artists articulate difference, proximity, and shared conditions—situating local experience within a wider Southeast Asian and global context.
VIP Preview & Vernissage
Thursday, Jan 22, 2pm – 9pm
Public Days
Friday, January 23, 12pm – 7pm
Saturday, January 24, 11am – 7pm
Sunday, January 25, 11am – 6pm
Works
Press release
For Art SG, Galeri Sasha presents a focused presentation anchored in painting as a primary medium. Bringing together works by Fadhli Ariffin, Ong Pei Yee, Zul Hanafi, and Paul Nickson Atia, the booth foregrounds the diverse ways a new generation of Malaysian artists are extending and reworking the language of painting. While unified by their commitment to the medium, each artist advances a distinct visual position—demonstrating the range, malleability, and continued relevance of painting today.
Through abstraction, figuration, and structured composition, the works offer insight into the varied cultural, social, and lived experiences that shape contemporary Malaysia. Fadhli Ariffin’s abstractions draw from glimmers of light observed in rivers, lakes, and waterfalls in Perak, translating the rhythms and emotional registers of rural landscapes into layered painterly surfaces. Ong Pei Yee turns to the domestic interior, capturing the quiet negotiations of everyday life through figurative scenes—how objects are arranged, reused, and inhabited—rendering how things feel rather than how they appear.
Paul Nickson Atia’s paintings engage ancestral memory and colonial inheritance through landscape and mark-making, weaving fragments of Bidayuh heritage into meditative compositions that question belonging, history, and place. In contrast, Zul Hanafi’s semi-abstract, biomorphic forms reflect the evolving intimacy between humans and technology, imagining digital systems and artificial intelligence as companion-like presences that are at once seductive, unsettling, and deeply embedded in daily life.
Together, the presentation positions painting as a flexible and responsive medium through which a generation of Malaysian artists articulate difference, proximity, and shared conditions—situating local experience within a wider Southeast Asian and global context.
