Art Bangkok 2026

Galeri Sasha is pleased to announce our participation in the first-edition of ART BANGKOK 2026, taking place at Siam Paragon, NEX Hall, from 7–11 October 2026.

For the fair, Galeri Sasha presents new works by Alya Hatta, Fadhli Ariffin, and Wong Perng Fey, bringing together three distinct approaches to contemporary painting in Malaysia. Across different generations and visual languages, the presentation considers painting as a responsive medium through which personal experience, memory, place, and the surrounding environment are observed and reinterpreted.

Alya Hatta’s paintings draw from personal and family archives, everyday imagery, and the natural environment to explore questions of identity, community, and belonging. Combining diaristic observation with fragments of memory and visual culture, her compositions move between the intimate and the collective, reflecting on the experiences that shape contemporary Southeast Asian identity.

Fadhli Ariffin’s recent abstractions are informed by his close observation of the natural landscapes of Perak, particularly the movement and glimmer of light across rivers, lakes, and waterfalls. Through repeated marks, layered surfaces, and shifts in colour, these experiences are reworked into paintings that are less descriptions of landscape than responses to its rhythm, atmosphere, and emotional register.

Wong Perng Fey, meanwhile, approaches painting through an ongoing engagement with memory, place, and the changing environments we inhabit. Moving fluidly between figuration and abstraction, his works build images through accumulated gestures, erasure, and layered surfaces, allowing forms to emerge and recede. Familiar landscapes and fragments of everyday life become sites through which personal memory intersects with broader experiences of change, displacement, and belonging.

Together, the presentation reflects the breadth of contemporary Malaysian painting today: from the personal archive and everyday experience, to the natural landscape and the shifting memory of place. Rather than proposing a single visual language, the booth brings these differing approaches into dialogue, highlighting painting’s continued capacity to register both individual experience and wider social and cultural conditions.