SPECIMEN LOG κا⚘-008

§ [chimera]

RECOVERED DATA:
Zone: 03°45'N 108°12'E (Natuna Sea / Disputed Waters)
Classification: Techno-organic remnant
Material: Digital composites; computer-generated imagery; laser-engraved carbon-fibre sheet; UV-cured ink and etching on acrylic; silicon wafer (semiconductor substrate); resin; stainless steel; polyethylene terephthalate glycol; NFC tag; epoxy

Catalogue: κا⚘-008 (krØmæ§piritⱫ - obj #8)
Possible year crystallized: 2025
Dimension: Hybrid, 53 x 48 x 5 cm
Provenance: cinotiUHD (fyær studios),
‘Training Centre for the Soul‘, Square Street Gallery (HK)




Fabricated with Factory 1405.
Installation photograph by Felix SC Wong
Artwork photograph by Jaya Khidir.

§ [chimera] integrates a crystalline silicon wafer—repurposed as a speculative relic—into a 3D-printed containment structure. Its surface patterns, reminiscent of lattice structures in particle detectors, suggest traces of latent computational or energetic activity, inviting parallels with subatomic interactions or experimental data systems. Surrounding composite materials evoke exoskeletal fragments of unknown organisms or technological devices, highlighting Fyerool’s ongoing introspection into hybrid bodies and unstable taxonomies.

The embedded “specimen log” situates the object within a parafictional archive, blending scientific metadata, recovered coordinates, and system readings. The work mirrors the translation of experimental and particle-collision data into perceptible, artistic forms, framing technological substrates as active participants in the work.

By pairing technical materials—silicon, resin, carbon fiber, and laser-engraved surfaces—with speculative scientific metadata, § [chimera] situates mythic forms, post-digital archaeology, and physical matter within a framework akin to laboratory observation and data visualization. The resulting artefact oscillates between documentation and invention, between a hybrid object and a para-archival artefact, suggesting how invisible forces and complex systems can be apprehended through hybrid material and sensory exploration.

ⱥn§ibløm∞ with rempit godde$$ and shif 

2026

video mapping onto facade of National Gallery Singapore; computer and AI generated images alongside found footages, archives, recorded and composed sounds

sound by rempit godde$$
datamosh alchemised by shif 
CGI and motion support by cinotiUHD

Commissioned by National Gallery Singapore for Night to Light Singapore 2026

ⱥn§ibløm∞ is a four-minute projection performance that drapes a colonial facad in glitch, pattern, and neon, dragging past, present, and digital excess into a single, luminous moment. 

The work interrogates the visual and sonic paradox of digital resistance: every act of aesthetic disruption relies on extractive infrastructures—servers, projectors, energy systems—built through historical and environmental exploitation.

The performance projects the unstable and entanglements between the material conditions of contemporary civilization. Beauty, critique, and complicity coexist in this fleeting temporal collapse, inviting reflection on the fragility of systems and the
ethics of intervention.

krØmæ§piritⱫ

1. Golden Aperture, The Render 

2.  The Pantunist is A Programmer of Multitudes, 2024, Acrylic and UV ink on canvas over wood stretcher of digital composites with generated image and digitally painted with cinotiUHD, varnish, 118 x 84 cm 

3. Stacks (with Anu) 

4. The Weavers Wove an Infinite, 2024Acrylic and UV ink on canvas over wood stretcher of digital composites assembled by Fyerool Darma with image presumably captured by Erik Molein Flower/Mohamad Hadji Abdurahim and digitally painted with cinotiUHD, varnish
118 x 84 cm



§§§§, 2024
Digital composites, acrylic, polyvinyl chloride on UV printed canvas, engraved carbon fibre, marine grade stainless steel, wood, 21 × 19 × 3.5 inches (Unique)

§, 2024
Digital composites, acrylic, polyvinyl chloride on UV printed canvas, engraved carbon fibre, marine grade stainless steel, wood, 22 × 19 × 3.5 inches (Unique)

Fabrication support by Factory 1405 Photography by jonathan tan

What occurs when organic decay intertwines with technological advancements, and how does the process reshape our perceptions of lore and matter? In what ways might these transformations manifest as new forms of embellishment? krØmæ§piritⱫ is a presentation of new artworks by Fyerool Darma at Yeo Workshop.

The presentation combines found industrial materials with stock photos—pre-existing, commercially available images—and generative images, which are created through algorithms or AI processes, seamlessly integrated with sonar vibrations. Creating vivid and geometric forms that threads into tropes of expiration, decay, and emergent materials. The works drift between technorganic landscapes, warping a sense of mythdrift—a transformation where traditional myths are reimagined as parafictions, blurring the line between lore, organic forms, handcrafted, and manufactured aesthetics. These narratives, like data in flux, are constantly rewoven with emergent technologies, creating new, ambiguous forms. Centered on a time-lapse of a plant undergoing cycles of deterioration and revitalization, permutations of sonar vibrations between a Nightjar—a bird native to Southeast Asia—and a sentient pantunist (or ancient programmer) are translated into objects oscillating between painting, sculpture, talismanic relief, printed circuit board, and map—each acting as a portal or gate, appearing to safeguard, sanctify, repel, frame, or decorate an interior.

Assembling an interplay between sound, matter, and movement, this vibration suggests not a dialogue, but a generative process where sound acts as the unseen and a medium of transformation. krØmæ§piritⱫ invites reflection on the transient nature of creation shaped by both organic and technology. It offers a meditation on cycles of creation and collapse, where views on technology, history, matter, and lore coexist in constant discordance and transformation, while continuously mirroring one another. When natural and digital boundaries blur, do digitised myths retain their meaning, or do they generate new realities? What knots or trimmings do the industrial materials that reshape our relationship to nature and history divulge? Do these works protect, demystify or contend with the spaces they are staged in? Eventually, what are the shifting perceptions of matter, lore, history, and art?



A pantun by Erik Molein Flower/Muhammad Hadji Abdurahman (Undated) with Anu, 2025 Vinyl on emulsion on concrete, 50 x 50 cm

gemer§ik

Sound wave in polyvinyl chloride by cinoti UHD, double-sided thermoreflective aluminum foam sheet with found monocrystalline nanosatellite, recovered carbon fiber, recovered electronics composites, aluminum sheet, resin, and acrylic; recordings of water folly and wing beats with nanosatellite transmission; read by Bruna Dalla Méa, datas arranged and composed by POFMAMAX.
Artwork support design by Amirul Nazree
Fabrication support with Factory  1405

The instllation draws from science fiction, beginning with the supposed fall of a decommissioned nanosatellite, Rizqi-2, into Earth’s atmosphere. This event triggers an instantaneous rupture of silence in a language called gemer§ik, composed of sonic vibrations created by mechanical, epistemological, cultural, and systemic frictions. Through the convergence of different media, the work invites the audience into a space where past and future generate new possibilities of existence, meaning, and a rejection of fixed categories.

Comissioned for the 14th Mercosul Biennial, presented at Museu de Arte do Rio Grande do Sul - MARGS in Porto Alegra, Brasil. The installation was presented alongside sculptures by Nereyda Lopez. Curated by Raphael Fonseca.

Photograph by  Thiele Elissa.

Junklord  Hikayat, is an ongoing collaborative work by Sharmini Aphrodite, fyerool darma, Shif, POFMAMAXX, and Manni Wang, it explores the epistemology of fables and their structures, affects, and legacies in a contemporary context.

The narrative follows art handler Bintang789, who navigates the complexities of existence in multiple realities, grappling with folklore, memory, and academic speculation.

This work is part of the Singapore Art Museum's (SAM) Open Systems 2_Operating Systems platform, which invites audiences to engage with the ideological and technological frameworks that govern digital culture.