Rubber was one of Malaya’s most important cash crops. Henry Ridley experimented with it in the Singapore Botanic Gardens, discovering a way to tap the tree extensively without destroying it. In this work, the artist invited audiences to approach rubber differently. They could experiment with it across different stations in the installation. The work encouraged curiosity, without agenda for exploitation or profit.

An installation based on the artist’s interviews with residents of kampungs that no longer exist in Singapore. Each object is an attempt at recreating the environments that marked the interviewees’ lives, serving as documentation of a lost landscape that now seems mythical in heavily urbanised Singapore. The images are abstract and hazy, and the stones fragmented – they are only an approximation of a space that once existed, refracted through memories.

The orchid in this work is endemic to Mount Kinabalu, it can only exist in that particular environment. Yet, the work can be brought to any place in the world. A part of it twitches, revealing its artificiality. The artist defied nature by creating a copy of the orchid with industrial materials. The endemic orchid can now exist anywhere. It does not belong to nature, but to the industrial age of machines and mass reproduction.

“Let her own works praise her.” These words, inscribed into Agnes Joaquim’s tombstone, inspired the artist to create this work. Here, each object celebrates the story of the woman who created Singapore’s national flower - the Vanda Miss Joaquim. Guests were welcomed with a perfume oil that recreated the scent of Agnes’s garden in Tanjong Pagar. They were greated by a sculpture of a 19th-century crinolinecovered with lace dipped in soil from Joaquim’s garden. Each part of the installation also speaks to the domestic and progression labour performed by many women that often goes unnoticed.