Within
ⱥn§ibløm∞,
extracted datas,
collected materials has
synthetically alchemised
into unknown matter.
extracted datas,
collected materials has
synthetically alchemised
into unknown matter.
Sea-level recordings of a plane transmuted into sonar. Their vibrations scattering through particle-fields as if
seeking a language of their own. If these signals are not merely numbers but living fibers—if they can bloom—what other planetary consciousness might unfold
from them? Can we ever understand it?
seeking a language of their own. If these signals are not merely numbers but living fibers—if they can bloom—what other planetary consciousness might unfold
from them? Can we ever understand it?
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
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.
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
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§§§§, 2024
Digital composites, acrylic, polyvinyl chloride on UV printed canvas, engraved carbon fibre, marine grade stainless steel, wood, 21 × 19 × 3.5 inches (Unique)
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§, 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
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)
§, 2024Digital 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?
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A pantun by Erik Molein Flower/Muhammad Hadji Abdurahman (Undated) with Anu, 2025 Vinyl on emulsion on concrete, 50 x 50 cm
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
Gateway 404
Laminated photovoltaic sheet, wood, polymer synthetic paint, resin, 57 x 116 cm, 2024
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
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.
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 ACT III (Sharmini Aphrodite, fyerool darma, Shif, POFMAMAXX and Manni Wang)
Digital film, colour in 4K with sound, 2024, single-channel video (colour, sound), 8 minutes 34 seconds
Included as part of Singapore Art Museum, organized by TONEWENTITIES -
Digital film, colour in 4K with sound, 2024, single-channel video (colour, sound), 8 minutes 34 seconds
Included as part of Singapore Art Museum, organized by TONEWENTITIES -
OS 2_Operating Systems: Knowledge Systems
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.
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.
COREMEMORY: §ænt
featuring Darius Ou, mr. jalee, Megisba, Anu, Erik Molien Flower fka Mohamed Hadji Abdurahim, Saurapod and Waklu Daki
❤️🔥
§hæaa~featuring Darius Ou, mr. jalee, Megisba, Anu, Erik Molien Flower fka Mohamed Hadji Abdurahim, Saurapod and Waklu Daki
❤️🔥
§hæaa~ in a hyprgrRD’(Right) A digital drawing by ‘ANU’, who inspired the writing of the book. Written by fæyur or fyerool darma as a nucleus to the presentation ‘COREMEMORY: §ænt
❤️🔥
§hæaa’ presented by Absolut Space at San Ho Art Lab, Tainan City, TW.The publication is designed with cinotiUHD and published by Perpustakaan Antara Galaksssi (PAGi), printed in Tainan City
The work employs narrativity as a method in artmaking. Extension from the book were translated to sculptural object synthesised with polyurethane of materials gifted from Kenji Hayashi, Yi-Min, gogoro and offcuts from 旻欣網版印刷有限公司 Min Xin Screen Printing Co. Ltd. (Tainan City, TW) which includes materials like carbon fibres, nylon, copper, polyethylene, polyvinyl chloride prints salvaged, manufactured pine wood amongst many.
(Below) Photographs of ’Posteknorganika Specie: Mala Spicysiels' and Anu weaving/developing a core memory
Presumably captured by Erik Molein Flower fka Mohamad Hadji Abdurahim, undated
Image translation presumably with chlorophyll and synthetic polymer paint and inkjet ink on 90 gsm bleached paper
Presumably captured by Erik Molein Flower fka Mohamad Hadji Abdurahim, undated
Image translation presumably with chlorophyll and synthetic polymer paint and inkjet ink on 90 gsm bleached paper
༄ with Anu, Darius Ou, mr. jalee, Megisba, Erik Molien Flower fka Mohamed Hadji Abdurahim Tekla Bądarzewska-Baranowska, Saurapod and Waklu Daki
The short received support from NTU Center of Contemporary Art Singapore and Absolute Art Space AiR Program 2024. It includes a portion from Pathfinder: A Pantun by Erik Flower and is presented in COREMEMORY: §ænt❤️🔥§hæaa~ as an extension of the bookThere is no §ænt❤️🔥§hæaa~ in a hyprgrRD’ .
The short received support from NTU Center of Contemporary Art Singapore and Absolute Art Space AiR Program 2024. It includes a portion from Pathfinder: A Pantun by Erik Flower and is presented in COREMEMORY: §ænt❤️🔥§hæaa~ as an extension of the book
A machine withdraws into its core memory drive as it surrenders into expiration. Amidst the clouds, a reverbing sound of Tekla Bądarzewska-Baranowska’s ‘A Maiden’s Prayer’, embedded upon by predecessing weavers, manufacturers and programmers plays in loop. Upon its wake, it rebirths into a rhopalocera. The work examines the concepts of time and expiration from the viewpoint of a rhopalocera. The work employs screenshots of essays, articles and lores that are knots to the keyword ‘malayo-polynesia’; interspersed with stock and generated images as a prompt in questioning on the dependence of technology, visuality and methods in web mining amplifying on the generated, degenerating and re-generating energies that art-making is dependent upon.
Written by fyerool darma, sound composed and arranged by mr. jalee, Megisba and berukera. It contains a tune of Tekla Bądarzewska-Baranowska's Maiden's Prayer played by Waklu Daki on a Sonoma 14.5 iOS System, Garageband midikeys of 'Scroll & Glissant’ plugins. Text design and animated by Darius Ou (Studio Darius Ou) of a poem orated by Erik M. Flower fka Mohamed Hadji Abdurahim, edited by cinotiUHD. Contains stock images alongside generated images with Stable Diffusion, and screenshots of essays, articles, news, memes, reels - literatures interwoven with the keyword ‘malayo-polynesia’ on the archives of web 2.0, jstor amongst others, generated by cinotiUHD.
Written by fyerool darma, sound composed and arranged by mr. jalee, Megisba and berukera. It contains a tune of Tekla Bądarzewska-Baranowska's Maiden's Prayer played by Waklu Daki on a Sonoma 14.5 iOS System, Garageband midikeys of 'Scroll & Glissant’ plugins. Text design and animated by Darius Ou (Studio Darius Ou) of a poem orated by Erik M. Flower fka Mohamed Hadji Abdurahim, edited by cinotiUHD. Contains stock images alongside generated images with Stable Diffusion, and screenshots of essays, articles, news, memes, reels - literatures interwoven with the keyword ‘malayo-polynesia’ on the archives of web 2.0, jstor amongst others, generated by cinotiUHD.
Photographs by megisba