Portrait of Popo Loko / Megisba Malaya [tran§forma-Xi]
HD Colour, 4 minutes 44 seconds (Perpetual Loop)
A macro descent into flesh, metal, and mercury as Popo Loko metamorphoses into the megisba malaya. Rendered through compound-eye optics, the film asks whether technology can still carry cosmology within it — or whether transformation now means dissolving into a single, undifferentiated surface.
Part of XO (2026), the work is an extension of Fyerool Darma's ongoing work kædæluwær§æk§§æk (A Xenographer's Index), first commissioned and presented at the Malay Heritage Centre, Singapore (2026). The work is an imagining of an expedition into n**antara, a parallel world of the Nusantara, the installation unfolds as a cinematic and virtual double of Padimai's physical exhibition space. Here, a worker responds to an AI's job listing, "Memory Diver," and enters a process of extraction. Narrated by a butterfly that remains in a room that no longer exists, the work asks what survives a system built to turn everything it encounters into data.
Trailer for kædæluwær§æk§§æk (A Xenographer's Index)
with Brandon Tay, Anonymous Network Unit, Runtuhh and Aqil Amal
kædæluwær§æk§§æk (A Xenographer's Index)
2025 - 2026
CGI, CAD alongside digital composites, with generated texts onto polyvinyl sticker on concrete.
Fontype: RTH Madjalah - Runtuhh
Models, sculpted with brozm. Texts by Anonymous Network Unit, with research and architectural advice from Aqil Akmal
Music by Cave Sex
Photographs by jonathan tan
2025 - 2026
CGI, CAD alongside digital composites, with generated texts onto polyvinyl sticker on concrete.
Fontype: RTH Madjalah - Runtuhh
Models, sculpted with brozm. Texts by Anonymous Network Unit, with research and architectural advice from Aqil Akmal
Music by Cave Sex
Photographs by jonathan tan
[CLASSIFIED: INTERNAL EYES ONLY]
Site: 1.3029N, 103.8599E
Year: Undated
kædæluwær§æk§§æk (A Xenographer’s Index) is a visual index compiled by xenographers from the Nusantara (or the Malay world), following their expedition to the parallel terrain of n**antara. A study of n**antara’s strata and archaeological findings reveals its civilization’s deep resemblance to the cultural world of the Nusantara – framed as a confirmation rather than coincidence: the Nusantara was never one world. It was always many. Yet, the n**antarans have transcended the categories that structure human life: humanly bodies and wider biospheres; intellect and intuition; lands, waters and the virtual. Their heritage and identity also undergo constant and, ongoing transformation.To describe this condition, the xenographers invented the term (pronounced ke-da-lu-waar-sakk-sakk), drawn from speculated nusantaran languages: the Javanese word kedaluwar (expiry), and proto-Austronesian word saksak (compressed).
Commissioned for the renovated @malayheritage and installed at its Fire Exit staircase, the work will be viewable until 2028 alongside its current exhibition 'Dari Rantau ke Rumah' / 'From the Region to Home'.
The work extends into XO (2026), a cinematic and virtual expedition into n**antara, a parallel Nusantara, shown at Padimai Art & Tech Studio's Islands in the Net.
Conceived with and alongside Brandon Tay, Anonymous Network Unit, (Fontype by) Runtuhh with architectural support and conversations with Aqil Akmal, the work proposes new forms that outgrew from the traditional, non-traditional and speculative Malay (non-malay, to its proximities and vernacular) architectural visual languages.
Site: 1.3029N, 103.8599E
Year: Undated
kædæluwær§æk§§æk (A Xenographer’s Index) is a visual index compiled by xenographers from the Nusantara (or the Malay world), following their expedition to the parallel terrain of n**antara. A study of n**antara’s strata and archaeological findings reveals its civilization’s deep resemblance to the cultural world of the Nusantara – framed as a confirmation rather than coincidence: the Nusantara was never one world. It was always many. Yet, the n**antarans have transcended the categories that structure human life: humanly bodies and wider biospheres; intellect and intuition; lands, waters and the virtual. Their heritage and identity also undergo constant and, ongoing transformation.To describe this condition, the xenographers invented the term (pronounced ke-da-lu-waar-sakk-sakk), drawn from speculated nusantaran languages: the Javanese word kedaluwar (expiry), and proto-Austronesian word saksak (compressed).
Commissioned for the renovated @malayheritage and installed at its Fire Exit staircase, the work will be viewable until 2028 alongside its current exhibition 'Dari Rantau ke Rumah' / 'From the Region to Home'.
The work extends into XO (2026), a cinematic and virtual expedition into n**antara, a parallel Nusantara, shown at Padimai Art & Tech Studio's Islands in the Net.
Conceived with and alongside Brandon Tay, Anonymous Network Unit, (Fontype by) Runtuhh with architectural support and conversations with Aqil Akmal, the work proposes new forms that outgrew from the traditional, non-traditional and speculative Malay (non-malay, to its proximities and vernacular) architectural visual languages.
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]
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.
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.