In an increasingly algorithmically motivated and automated world, how does one identify a real user among automated users? Are we now automated users ourselves? The CAPTCHA codes plastered across the building may be challenging to read, but when they are eventually verbalised, they ring alongside the humdrum of surrounding traffic – the colliding and skewed letters abuzz with movement of vehicles in and around.

Located at: Blk 39, Building Facade, Tanjong Pagar Distripark

Public outdoor work. Accessible at all times.

Greener Pastures turns the industrial space into one of contemplation. It draws on cuboid forms, such as the containers, pallets, and boxes that define its surroundings. Positioned above the cargo lifts at Tanjong Pagar Distripark, the installation renders utilitarian shapes into a flowing pattern that explores themes of movement, function and identity. By emphasising the rhythms of the site, it captures the alignment, repetition, and spatial relationships between everyday objects, while inviting viewers to see the beauty in geometric precision and underlying order.

Sections painted in varying shades of green connect the structured cuboid forms, creating a vivid contrast against the industrial landscape. These green elements evoke a longing for balance, symbolising the “greener pastures” often hidden within urban spaces dominated by steel and concrete. The deliberate interplay between rigid man-made structures and the organic rhythm of nature suggests a quiet hope for harmony and renewal. It reflects an ongoing tension between progress and preservation, prompting viewers to consider what has been lost and reimagined in the constant transformation of modern urban environments.

The title of the work references the idiom, “greener pastures,” which means a better or more promising situation. The relocation of Singapore Art Museum from its former sites at Bras Basah Road and Queen Street, as well as the upcoming move of the Port of Singapore Authority (PSA) from Tanjong Pagar, Keppel, and Brani Terminals to Tuas Port, were decisions that were likely made with the aim of achieving better outcomes. As the urban landscape continues to evolve, the title suggests that every decision along the way is made with the intention of moving towards greener pastures. With the Greater Southern Waterfront masterplan unfolding, the future of Tanjong Pagar Distripark remains in flux. Within this context, Greener Pastures speaks to both positive growth and the unpredictability that persists, even with a plan in place.

Fiona’s work is grounded in precision, repetition and meticulous processes. Her labour-intensive pieces serve as meditative explorations of time, value and the act of making itself. This creative ritual becomes a way to explore order and rhythm while also questioning the spaces we occupy and the systems we build. In this composition, the repetition of cuboid forms reflects the cycles of labour and transport that define the site, while the trailing elements introduce moments of reflection and regeneration, quietly weaving through the structured forms and gently unfolding across the space.

DEEP CUTS transforms the materials and surfaces of the artist’s studio into a striking visual narrative. Drawing from the surroundings that shape the artist’s practice, as well as the industrial character of the mural’s site, it reassembles fragments of raw, utilitarian materials and textures into a cohesive composition. Structured like a graphic novel, the work features panels connected by action lines and a rhythm that guides the viewer’s gaze.

The title, DEEP CUTS, refers to niche or lesser-known media that have dedicated followers, reflecting the artist’s appreciation of the visual motifs that inspire his painting practice. This mural explores the aesthetics of both print and digital media, adapting the process of mediums like woodblock printing, Ben-Day dots, CMYK halftones, pixel art and ASCII graphics. By amplifying and distilling the marks of these intricate details, the work blurs the line between recognition and abstraction, inviting viewers to reconsider how variations in scale across physical and virtual spaces can affect our interpretation of an image.

As part of the process of creating the mural, photographs of distressed metal containers, paint splattered walls, as well as high-resolution scans of textiles were digitally manipulated to accentuate different formal qualities. For example, paint drips were given a halftone treatment, dissolving the image into clusters of smaller dots. Similarly, the warp and weft of textiles were abstracted into simple lines of varying widths. These techniques are commonly used in silkscreen printing and graphic design to create the illusion of depth or gradients.

Taken together, this exploration of perception aligns with the artist’s broader practice, which investigates how images and artistic mediums are interpreted. Working with materials such as aluminium, textiles, and employing collage as a technique, Ian’s practice focuses on formal concerns like texture, colour, and line quality, while engaging with their cultural associations. Themes of youth, defiance and self-expression emerge in his work, drawing inspiration from the vibrant energy and visual style of various subcultures. These references add both vitality and introspection, balancing subjectivity with a collective resonance.

DEEP CUTS reimagines the mundane as extraordinary, encouraging a deeper engagement with the visual world. The fragmented imagery invites viewers to pause, reflect and find meaning in the subtle abstractions that permeate their everyday experiences. Through a blend of observation, memory and imagination, the work reshapes how we perceive and connect with the spaces we inhabit.