OH! Moonstone: Everything Changes, Everything Stays the Same (2026)
Moonstone, Art WalkIn Singapore, change is a way of life. Buildings are demolished and rebuilt, warehouses converted into residences, schools repurposed, shrines displaced, factories dissolved into memory.
The 12th edition of OH!’s flagship art walks, OH! Moonstone, explores the theme: “Everything Changes, Everything Stays the Same” in and around the defiant neighbourhood of Moonstone Lane Estate.
Four artworks are tucked into unique spaces that emerge amidst a neighbourhood zoned as residential on paper: a decomissioned factory, a 1950s home, a carpentry studio and a die-cast car shop. As they trace the quiet persistence of memory amid shifting architectures, these site-specific works reveal a neighbourhood caught between transformation and continuity.
Through this journey, OH! Moonstone reminds us that even in a city where everything changes, some things — the spectres of memory, texture, atmosphere — still remain.
Learn more about the artists and their works here.
The History of Cows, 2026
Sidhu HomeThe History of Cows unfolds in two complementary parts that trace changing land use, governance, and human–animal relations. A lightbox installation pairs a photograph of a cow at Coney Island with an earlier historical image, bringing contemporary landscape management into dialogue with agrarian pasts and highlighting both continuity and rupture.
The second component presents a monumental diptych of archival images flanking a plaque referencing the 1964 Cattle Ordinance Act, which formalised the regulation and eventual removal of cattle from Singapore’s urban landscape. Together, these elements form a restrained archive in which the cow becomes a proxy for broader processes of displacement, control, and transformation shaped by policy and planning.
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Robert Zhao Renhui (b. 1983, Singapore) is a multidisciplinary artist whose practice traverses photography, installation, research-driven inquiry, and archival methodologies. Guided by a sustained curiosity about ecological attention, Zhoo's works examine the porous boundaries between fact and fiction, and interrogates the ways humans perceive, classify, and intervene in the natural world.
Zhao's works have been exhibited at major institutions and international platforms, including Singapore Art Museum, Mori Art Museum (Tokyo) and Saatch Gallery (London), among others. Zhoo also represented Singopore at the Venice Biennale in 2024.
The second component presents a monumental diptych of archival images flanking a plaque referencing the 1964 Cattle Ordinance Act, which formalised the regulation and eventual removal of cattle from Singapore’s urban landscape. Together, these elements form a restrained archive in which the cow becomes a proxy for broader processes of displacement, control, and transformation shaped by policy and planning.
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Robert Zhao Renhui (b. 1983, Singapore) is a multidisciplinary artist whose practice traverses photography, installation, research-driven inquiry, and archival methodologies. Guided by a sustained curiosity about ecological attention, Zhoo's works examine the porous boundaries between fact and fiction, and interrogates the ways humans perceive, classify, and intervene in the natural world.
Zhao's works have been exhibited at major institutions and international platforms, including Singapore Art Museum, Mori Art Museum (Tokyo) and Saatch Gallery (London), among others. Zhoo also represented Singopore at the Venice Biennale in 2024.
Artist:
Robert Zhao Renhui
Lightbox installation, aluminum composite dibond, mixed media
Robert Zhao Renhui
Lightbox installation, aluminum composite dibond, mixed media
Artificial Conditions,
2019 - 2026
Installed within a neighbourhood shaped by redevelopment, Artificial Conditions draws attention to the material systems behind urban renewal. Ang Song Nian assembles 10,000 biodegradable planting pots—commonly used to propagate Singapore’s greenery—into an undulating field that reads as both landscape and infrastructure. Stripped of soil and plants, these vessels present nature in a state of preparation, while their repetition echoes the industrial rhythms of urban greening: growth, replacement, and renewal.
By placing these usually hidden objects outdoors, the work shifts focus from finished environments to the unseen labour and processes that sustain them, revealing the paradox of cultivated landscapes shaped by constant change.
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Ang Song Nian (b. 1983, Singapore) is a photographic and installation artist whose practice examines the imprints of human behaviour on natural and urban landscapes. By employing close, analytical observations and a meticulous attention to detail, Ang makes visible the often-invisible structures and anxieties embedded within contemporary environments.
Song Nian's solo exhibitions include A Tree With Too Many Branches (2015), As They Grow Older And Wiser (2016), Hanging Heavy On My Eyes (2017) and Artificial Conditions: Something To Grow Into (2019). His works have also been featured in international photography festivals and institutional platforms.
By placing these usually hidden objects outdoors, the work shifts focus from finished environments to the unseen labour and processes that sustain them, revealing the paradox of cultivated landscapes shaped by constant change.
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Ang Song Nian (b. 1983, Singapore) is a photographic and installation artist whose practice examines the imprints of human behaviour on natural and urban landscapes. By employing close, analytical observations and a meticulous attention to detail, Ang makes visible the often-invisible structures and anxieties embedded within contemporary environments.
Song Nian's solo exhibitions include A Tree With Too Many Branches (2015), As They Grow Older And Wiser (2016), Hanging Heavy On My Eyes (2017) and Artificial Conditions: Something To Grow Into (2019). His works have also been featured in international photography festivals and institutional platforms.
Artist:
Ang Song Nian
10,000 biodegradable planting pots
Ang Song Nian
10,000 biodegradable planting pots
Light Metal Gossamer Bloom,
2026
Daily Diecast SingaporeIn Light Metal Gossamer Bloom, Jarupatcha Achavasmit creates a site-specific installation that transforms industrial materials through patient, hands-on labour. Developed from a process first explored during her residency at The Peninsula Bangkok, discarded aluminium toiletry bottles are stripped into fine strands and handwoven into textile-like forms, shifting aluminium from container to structural filament.
Created for a shop dedicated to diecast cars, the work incorporates salvaged copper fibres and upcycled seatbelt webbing, drawn from systems of manufacture, circulation, and safety. Woven into a sinuous, blooming form that threads through shelves and vitrines, the installation highlights shared material languages between model and vehicle, proposing transformation as material reconstitution rather than replacement.
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Jarupatcha Achavasmit is a Thai textile artist and designer whose practice interweaves craft, material innovation and environmental consciousness. She explores how textiles can carry memory, labour and ecology within their very structure. Her works often transform discarded or overlooked materials into intricate woven forms, foregrounding the tactile intelligence of fibre as a medium for rethinking value and waste.
Jarupatcha's projects and collaborations have been presented at Warin Lab Contemporary, Milan design events, Art Central Hong Kong, and most recently in Sanctuary Within, a major exhibition and residency at The Peninsula Bangkok's Art in Resonance programme.
Created for a shop dedicated to diecast cars, the work incorporates salvaged copper fibres and upcycled seatbelt webbing, drawn from systems of manufacture, circulation, and safety. Woven into a sinuous, blooming form that threads through shelves and vitrines, the installation highlights shared material languages between model and vehicle, proposing transformation as material reconstitution rather than replacement.
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Jarupatcha Achavasmit is a Thai textile artist and designer whose practice interweaves craft, material innovation and environmental consciousness. She explores how textiles can carry memory, labour and ecology within their very structure. Her works often transform discarded or overlooked materials into intricate woven forms, foregrounding the tactile intelligence of fibre as a medium for rethinking value and waste.
Jarupatcha's projects and collaborations have been presented at Warin Lab Contemporary, Milan design events, Art Central Hong Kong, and most recently in Sanctuary Within, a major exhibition and residency at The Peninsula Bangkok's Art in Resonance programme.
Artist:
Jarupatcha Achavasmit
Installation with woven aluminium, recycled copper fibre textile, and upcycled seatbelt webbing
Jarupatcha Achavasmit
Installation with woven aluminium, recycled copper fibre textile, and upcycled seatbelt webbing
Abstraction for Beginners - Methods and Materials,
2026
MuYi CreationIn Abstraction for Beginners – Methods and Materials, Milenko Prvački creates an installation shaped by the materials and working rhythms of its surroundings. Set within an active carpentry factory, the work draws on everyday processes such as cutting, assembling, and refining, using plywood, cabinetry offcuts, sawdust, and tools to blur the boundaries between artwork, workshop, and domestic space.
Accompanying the installation is a selection of paintings, mixed-media assemblages, and caricatures that reflect Pracki’s intuitive and experimental approach. Together, these elements explore how forms are built and experienced, presenting abstraction not as something purely visual, but as a method rooted in making, materials, and everyday practice.
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Milenko Prvački (b. 1951, Yugoslavia) is a Singaporean artist whose proctice spans painting, drawing, and large-scale mixed-media works.
Known for his rigorous engagement with abstraction, Proek's compositions bring together gestural mark-making, spatial complexity, and a deep sensitivity to colour and texture.
Prvački participated in numerous exhibitions that highlight the evolving trajectories of abstraction in the region, and his work has been exhibited extensively in Southeast Asia, Europe, Australia, and the United States. He served as Dean of the Faculty of Fine Arts and later as Senior Fellow over nearly three decades at LASALLE College of the Arts, contributing significantly to the region's visual arts
Accompanying the installation is a selection of paintings, mixed-media assemblages, and caricatures that reflect Pracki’s intuitive and experimental approach. Together, these elements explore how forms are built and experienced, presenting abstraction not as something purely visual, but as a method rooted in making, materials, and everyday practice.
***
Milenko Prvački (b. 1951, Yugoslavia) is a Singaporean artist whose proctice spans painting, drawing, and large-scale mixed-media works.
Known for his rigorous engagement with abstraction, Proek's compositions bring together gestural mark-making, spatial complexity, and a deep sensitivity to colour and texture.
Prvački participated in numerous exhibitions that highlight the evolving trajectories of abstraction in the region, and his work has been exhibited extensively in Southeast Asia, Europe, Australia, and the United States. He served as Dean of the Faculty of Fine Arts and later as Senior Fellow over nearly three decades at LASALLE College of the Arts, contributing significantly to the region's visual arts
Artist:
Milenko Prvački
Installation with paintings, mixed-media assemblages, and drawings
Milenko Prvački
Installation with paintings, mixed-media assemblages, and drawings