Common to both art and science is the act—some may say discipline—of observation. One tool of exploration and observation familiar to Garibaldi is the microscope. Under its lens, everyday objects give way to fantastical and mesmeric compositions—their banal surfaces transformed into dazzling details and minutiae. Many organisms, when viewed under the microscope, also appear as discrete, unanchored shapes in space, as if in a surrealistic floating world. A connection may be ventured between the visual imprint of these images on Garibaldi’s memory and his dream- like floating landscapes—an inspired aesthetic translation of the original source material, which came from a scientific mode of observation. (full text on catalogue PDF)
Assistant Director (Programmes) & Curator, Singapore Art Museum
In this exhibition, Tepu utilised fungi as material. His works highlighted various visual characteristics related to fungi, as well as expressed a new language similar to Esperanto he created himself called “Terhah”.
These two principal components, fungi and Terhah, both express the organic disposition of his works in terms of its potential to undergo processes of development and transformation. With these two materials, Tepu enforces the notion that as a material, fungi—or more importantly: new media artistic expressions—are directly related to the need for new languages. At the same time, this language also requires a means of visual expression, a form of new alphabetical typography, which in turn is also related to the various visual cues that have been observed by Tepu through the lens of a microscope, microorganisms in a Petri dish. (full text on catalogue PDF)