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          fyerool darma


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Pathfinder with Aleezon, Sharmini Aphrodite, berukera featuring Erik Flower, 2023

Shaped plywood, polyvinyl chloride, printed polycotton on
reupholstered camping chairs with pigments and coating (Samurai2K),
7mil polyester film, sound

In this newly commissioned artwork, the artist provides customised, portable seating. One accompanying sound recording was arranged and produced by the artist’s collaborators berukera and gr834$ternl4if using a DAW with the plugin Berlin Techno Kit. Fyerool combines archival research and speculation around a historical figure named Erik Flower, formerly known as Muhamad bin Hadji Abdurahim, who was born in Johor Bahru and resettled in Berlin in 1917, and who Fyerool encountered in a 2021 essay by meLê yamomo (titled "Acoustic Epistemologies and Early Sound Recordings in the Nusantara Region: Phonography, Archive, and the Birth of Ethnomusicology") that describes his acoustic and poetic works that were recorded in 1917 and stored in a Berlin sound archive. A second sound recording narrates a seance with Flower. 

The exercise was included in the exhibition The Unfaithful Octopus
curated by Dr. Roger Nelson at NTU ADM Gallery, Singapore in 2023
and would travel to MAIIAM Contemporary Art Museum, Chiang Mai in 2024. 

For a pdf of the screenplay send here.

Sound work conceived by berukera 



         


I❤nd$c_pe
(6273726432 – g’deh sky berry ❤ with view of Ghertie)
featuring Jac Hartje, Lee Khee San, @budyoung and Lé Luhur
2023

Plexiglass (Tiger), hot sauce (Samyang), archival ink (MOLOTOW), Xylene marker (Dykem Dalo), polyvinyl chloride and polyacrylate adhesive – salvaged and artist vinyl (ORACAL 651) from Dja Dja Wurrung Country and Singapore, chameleon carbon fibre polyvinyl chloride and polyacrylate adhesive (VViviD XPO) with anodised aluminium alloy, fabric with polyethylene and rubber adhesive (Duck Tape), nonmetallised micro-prismatic reflective tape with resin (Steve & Lief), polypropylene film (Hunter) and salvaged cables and cords on wall installation dimensions variable. 

Installation view of the work, included in Collecting Debts and Other Bad Moods curated by Bala Starr 

Photo: Leon Schoots, Courtesy of La Trobe Institute of Art




l♥ndsc_₱€$s (poienxcinoti) featuring rawanxberdenyut, Aleezon, Lee Khee San,
Lé Luhur from NUS Museum's South and Southeast Asia Collection
and Autaspace, CC1, Dahlia, Alawiyah and 风), 2023


Polymethyl metacrylate (Plexiglas Tiger), epoxy resin (Samurai 2K) on synthetic polymer paint (Golden), chameleon carbon fiber polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminum alloy, honeycomb retroreflective tape (GripOn), non metalized reflective tape (Steve & Leif) on polyvinyl chloride on wood on polymethl metacrylate, varied textiles salvaged and woven with polyester thread, xylene on polyvinyl chloride. 413 × 1730 cm.

The work was commissioned by the 12th Seoul Mediacity Biennale and
National Arts Council Singapore. Courtesy of the artist.
Above is an installation view of the 12th Seoul Mediacity Biennale THIS TOO, IS A MAP, Seoul Museum of Art, September 21-November 19 2023. Curated by Rachael Rakes and Sofía Dourron.

Photo: GLIMWORKERS. Courtesy of the Seoul Museum of Art






Total Output featuring Aleezon, berukera,
billyX, Jasim, Lee Khee San, Lé Luhur
and rawanXberdenyut

Plexiglass (Tiger), polyurethane clear coat,
archival ink (molotow), polyvinyl chloride and
polyacrylate adhesive - salvaged and artist vinyl
(ORACAL 651 and Ri-Jet Mono), carbon fibre
polyvinyl chloride and polyacrylate adhesive
(Vvivid XPO) on anodized aluminium alloy,
honeycomb retroreflective polyvinyl chloride (Grip-On),
non metalized micro-prismatic reflective tape
with resin (Steve & Lief), polypropylene film (Hunter),
on plexiglass with xylene, silicone and 6061
aluminium alloy secondary support ,
(total) 400 x 300 x 6 cm, (each) 100 cm x 100 cm,
support measures at 10 x 5 x 10 cm. 

The installation was accompanied with an audio
loop, arranged and produced by berukera

2023

Photograph by jonathan tan
Total Output is an exercise in remixing visual vocabularies drawn from open source archives. It ventures into experimentation of patterns as glitches, acting on collected, sourced and recognised motifs in cultural and industrial circulation. Through sampling (taking fragments from a whole), a process of extraction, analysis and repetitive labour ensues, where a collective of artists work simultaneously on the same set of sources, each creating within their own system and rhythm of control against the backdrop of a shared grid. Formally, the work resembles modular LED screens but one that is in the process of being composed. This alludes to grid technologies as a system of digital organisation and distribution, an arena within which the visual remixes and glitches stage an ongoing cacophony of discordances between the digital and analogue. 

The work’s title references the measurement of productivity in an economy but while the method of quantifying labour outputs obliterates individuality, Total Output proposes speculative and productive forms of artistic labour that is premised on the cumulation of independent agency – the sum of the creative energies amassed in the artist’s studio.

The installation witnessed 3 sets of variation updates which will be updated by end August 2023. The work was a proposal and commissioned as part of the inaugural biennale project focusing on emerging practices and generative trends in Singapore, titled SAM Contemporaries: Residues and Remixes presented by Singapore Art Museum.



Language Instruction Manual Study
Designed by: cinoti
Assistant designer: Aleezon
Above is a Language Instruction Manual Study set by the studio as a proposal for the curators to jointly speculate about the equipments employed and each patterns historicity. The textual exercise with curators, Khim Ong and Syaheedah Iskandar could be read in the printed publication. 









L4ndf33lzz featuring Aleezon, Lé Luhur, Manni Wang, rawanXberdenyut, Taufiq Rahman, and mr. jalee, Singapore Art Museum Hoarding along Bras Basah Complex.

Photograph by jonathan tan.
L4NDf33lzz references patterns designed and manufactured in Singapore from the 1950s to 1970s before the city-state shifted its economic strategy into an Export Oriented Industry. Many of these patterns were produced for textiles and generated by unnamed craftsmen.

These patterns became a source for sampling and mashup where the artist modified them digitally with archival and stock images of Bras Basah. Scaled up in a grid, these colossal supergraphics pay homage to the site and the original creators of these patterns.  

Between June to August, the artist and his collaborators will engage in a visual dialogue with the graphics that will alter the images shown. Shifting and remixing between the analogue and digital, portions of the vinyl will be manually cut and remodified with new elements introduced. Pushing the boundaries of a static display, its material and medium, these interventions explore the publicness of the hoarding as more than an urban canvas and experiment with its potential to invite interactivity with its passers-by.

Although industrial technology has vastly changed, L4NDf33lzz underscores the human labour and knowledges embedded in materiality that are cemented in these processes. The patterns continue to be visual testimonies of their makers and suggests a cosmopolitan space where things and non-things collide and where the only constant is the passing of time.

L4NDf33lzz continues from the artist’s Creative Residency under National Library Board (NLB), where these images and patterns were first excavated.


Screenshot 22-11-2022 at 22:22 AM (siu dai UHD) featuring Lé Luhur and LKS
Polymethyl metacrylate (Plexiglas Tiger), epoxy resin (NicPro) on synthetic polymer paint (Golden), chameleon carbon fibre polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminium alloy, honeycomb retroreflective tape (Grip-On), non metalized reflective tape (Steve & Leif) on polyvinyl chloride on wood on polymethl metacrylate, 105 x 188 x 3 cm, 2022. Photo Sim Chin



Screenshot 10-11-2022 at 00:00 AM (typhoon tiānshǐ xoxo) featuring Manni Wang and moyangz
Polymethyl metacrylate (Plexiglas Tiger), epoxy resin (NicPro) on synthetic polymer paint (Golden), chameleon carbon fibre polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminium alloy, honeycomb retroreflective tape (Grip-On), non metalized reflective tape (Steve & Leif) on polyvinyl chloride on wood on polymethl metacrylate, 121 x 68 x 3 cm, 2022. Photo Sim Chin



Catalogue with essay can be read below 
︎︎︎ Facture of the Anti-Grid Syncopation by Karin G. Oen, PhD 

(Above and below) Works featured in the presentation are an extention from ‘Screenshot Series’


Screenshot 06-06-2022 at 06:66 AM (le sportif junglizt) featuring moyang 
Plexiglass (Tiger), archival ink (molotow), polyvinyl chloride and polyacrylate adhesive - salvaged and artist vinyl (ORACAL 651), chameleon carbon fibre polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminium alloy, cloth with polyethlene and rubber adhesive (Duck Tape), honeycomb retroreflective tape with resin (Grip-On), non metalized micro-prismatic reflective tape with resin (Steve & Leif), polypropylene film (Hunter), on polyvinyl chloride on plywood, 121 x 68 x 3 cm, with 43” swivel wall mount, 2022. Photo: Wu Gang



Screenshot 20-06-2022 at 02:06 AM (R4inbow Ph4ntom HD) featuring moyang and Lee Khee San 
Plexiglass (Tiger), archival ink (molotow), polyvinyl chloride and polyacrylate adhesive - salvaged and artist vinyl (ORACAL 651), chameleon carbon fibre polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminium alloy, cloth with polyethlene and rubber adhesive (Duck Tape), honeycomb retroreflective tape with resin (Grip-On), non metalized micro-prismatic reflective tape with resin (Steve & Leif), polypropylene film (Hunter), on polyvinyl chloride on plywood, 121 x 68 x 3 cm, with 43” swivel wall mount, 2022. Photo: Wu Gang



Screenshot 21-06-2022 at 02:40 AM (SabanaHoneymoon-30°|39° with view of Gertie) featuring @budyoung and Lee Khee San
Plexiglass (Tiger), archival ink (molotow), polyvinyl chloride and polyacrylate adhesive - salvaged and artist vinyl (ORACAL 651), chameleon carbon fibre polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminium alloy, cloth with polyethlene and rubber adhesive (Duck Tape), honeycomb retroreflective tape with resin (Grip-On), non metalized micro-prismatic reflective tape with resin (Steve & Leif), polypropylene film (Hunter), on polyvinyl chloride on plywood, 121 x 68 x 3 cm, 2022. Photo: Wu Gang







Installation view of
‘L4ND$C4P€$ 4R3 L4NDF33LZ & 4N ♥C34N FVLL ♥F D4+4 WASTESS$ZZ’
in Seoul Frieze 2022