Upcoming Art Exhibition

"Super-Position"

Inspired by the abstract concept of superposition in both the natural and manmade worlds, Inspired by the abstract concept of superposition in both the natural and manmade worlds, our featured artists, Ai Yen ( @aiyen.arts ), Christine R. Bay ( @christinerbayart ) and Samantha Wang ( @samantha.wang.art )explore how the two worlds can co-exist, interact or intermingle in physical or metaphysical ways. explore how the two worlds can co-exist, interact or intermingle in physical or metaphysical ways.

Venue: The Fluxus House Gallery, 23 Teo Hong Road, Singapore 088332
Date: 7 Sep - 30 Sep 2025
Time: 10AM - 7PM daily

About “Super-Position”
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Superposition, in the quantum physics world, is a fundamental principle that states that the linear sum of solutions to a Schrödinger equation is the solution to that equation. It can be simplified to mean that a quantum system can exist in multiple states at one time.
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Recent science research has shown evidence that some parts of nature, like birds navigation, photosynthesis and even our own neurons, are functioning on the superposition mechanism, explaining the efficient and optimised natural systems.
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It is also human nature to fulfill the need to improve efficiencies and optimise resources, from surviving the harsh environment in the distant past to urbanisation in our modern society. However, time seems to have compressed in our current age of technology and AI-race, just as we are seemingly trying to hasten the emulation of superposition in manmade systems while putting care for nature in the backseat. In this new 21st digital century, how does humanity view natural systems that have always been essential for life?

Blue Reverie - by Samantha Wang

Blue Reverie is my response to the delicate, and at times painful, relationship between nature and humanity. It began with an unease I felt in the years after the pandemic. When borders reopened, the world rushed to travel again—seeking to capture beauty, to consume experiences, to post the perfect photograph. What emerged was a surge of overtourism, leaving in its wake a trail of neglect, waste, and exhaustion in the very places people claim to love.

I witnessed how this wave of consumption bruised both landscapes and cultures. Once-quiet parks now bear the imprint of careless footsteps. Remote coastlines struggle under the pressure of pollution and plastics. Cities like Kyoto, long admired for their beauty, find themselves overwhelmed by crowds who forget that admiration without respect becomes exploitation. In the rush to “see it all,” the delicate threads of nature, culture, and daily life are frayed.

This exhibition reflects my fear of what happens when beauty is pursued without care. But it is also my hope—that by slowing down, by pausing to notice fragility, we can begin to mend the wounds we have left behind.

I chose cyanotype as a central process because of its deep indigo blue—a colour of beauty and calm, but also of melancholy and distress. Real flowers and leaves are pressed directly into the works, their shadows and forms preserved like imprints of memory. Some appear whole; others are fractured, bandaged, or broken, signifying the marks humanity leaves on the natural world. Bubble wrap recurs throughout as both protector and suffocator, reflecting our conflicted desire to shield while simultaneously smothering. Plastic bottles appear as symbols of waste left behind—small acts of neglect that accumulate into lasting scars.

Each work is a meditation on fragility. A bloom preserved yet bruised. A leaf isolated, alien in its own environment. Flowers gathered at the bottom, displaced by unseen weight. These are not just metaphors for damaged ecosystems, but for local communities too—residents who feel like strangers in their hometowns under the weight of unchecked tourism.

Blue Reverie invites us to look beyond surface beauty and consider what it costs to take without giving back. It asks us to recognise that admiration must be coupled with respect, that preservation requires restraint, and that true appreciation of nature is not in capturing it but in letting it endure.

This is not a rejection of tourism or human curiosity—it is a plea for balance. To remember that the earth is not limitless. To acknowledge that every flower picked, every footprint left, every careless piece of trash abandoned is part of a larger cycle of consumption. And to realise that we can still choose differently: to admire without consuming, to travel with humility, to leave behind not scars but gratitude.

Blue Reverie is, above all, a reminder that beauty is fragile—and that the choice to preserve it lies in our hands.

The Artwork 

Title: Tender Rupture Medium: Cyanotype Collage on Wooden Board Size: 42x59.4cm  A collage of flowers and leaves, some bandaged, holding beauty and fragility in delicate tension.  I have used my collection of pressed flowers that i preserved over the years creating the imprint adding on element of bandages, signifying the marks humanity leaves on the natural world.
Title: Distanced  Medium: Acrylic on Wooden Board Size: 42x59.4cm A single white leaf among vibrant ghost like foliage, alienated and estranged within its own home.  Preserved leaves are used in this artwork, imprinted using white acrylic with layers of different shade of blue.
Title: Silence Descent Medium: Acrylic on Wooden Board Size: 42x59.4cm Leaves cascade downward, quietly bearing the weight of human impact and loss.  These are not just metaphors for damaged ecosystems, but for local communities too—residents who feel like strangers in their hometowns under the weight of unchecked tourism.  Painted using fresh leaves.
Title: Breathless I,II,III,IV Medium: Cyanotype Collage on Wooden Board Size: 20x30cm each Bubble wrap recurs throughout as both protector and suffocator, reflecting our conflicted desire to shield while simultaneously smothering. Plastic bottles appear as symbols of waste left behind—small acts of neglect that accumulate into lasting scars.

dream → heart → descent → offering → whispers → fading → breath