Sunny-side up

fried eggs on slate roof


hospitalfield graduate residency programme, arbroath, scotland, uk

party of one

mixed media installation


the glasgow school of art mfa degree show 2013, glue factory, glasgow, scotland, uk

topography of a writing desk

digital photography


squatting in the moments of comfort and convenience

mixed media installation


the boxed life

encased dioramas

2011 - ongoing

Utopia Highway

dioramic Installation

Esplanade Concourse, singapore


The work consists of a modeled city centre, with an expansive and gravity defying highway that leads out of the city, twisting and turning to form the word ‘UTOPIA’, littered with cars and buses and explosions. Frozen in a moment, the scene is comical and sinister and video-game like. Placed on the steps of the concourse, the miniaturised scale loses itself to the larger surrounding. The barricades further isolates the work, losing the charm of dioramas or scaled models where looking up close is personal and an intimate experience.

The work could jolly be a statement about industrialisation, rapid urbanisation and the destruction of the natural habitat. As the highway, in stasis, breaks in multiple places there is a sense of relieve and hope that nature might reclaim itself. The sight of crushed metal in accidents once prompted American artist Andy Warhol to make a series of silkscreens based on car crashes. The crushing of metal, epitomised by the Autobots and Deceptacons in Transformers bashing themselves silly, has a certain perverse satisfaction. The desire to see machine’s fail could be a manifestation of deeper human instincts for self-preservation, a la Matrix style.
— Lim Kok Boon

Ink Fountain

ink Drawing Installation


Nanhai Gallery, National Taipei University of Education, taipei

 Sungei Roadsters

mixed media Installation


Welcome to the Real World, Singapore Management University, singapore

Be A Pencil Marksman

Mixed Media installation


Drawing Out Conversations, Studio Bibliotheque, Hong Kong

Nevermind Nirvana

Dioramic Installation


Eniminiminimos II, Jendela@Esplanade, singapore

Meanwhile, an apocalypse seems to have already occurred in Chun’s dioramic installation. The work is eerily morbid and screams of the expressionistic angst characteristic of Chun’s works. Essentially a forest ravaged by what seems to be a series of disasters, the gore only gets more explicit as you examine the glut of visual details at close proximity. What appear to be the flames of a group of candles are actually miniature human figures on fire, akin to figures of sacrificial martyrs upon an altar. From a distance, the shades of mahogany used on the landscape are uncannily surreal and reminiscent of swollen, infected flesh. This is nature in its most untamed, capricious and violent form.
— ho rui an


stereoscopic photography Installation


TransportAsian, Singapore Art Museum

In Carmageddon, Chun Kai Qun combines the art of miniature making with stereo-photography. Through the lenses of the child’s optical toy, we witness cataclysmic car explosions, reminiscent of sensationalistic Hollywood action flicks. But the perverse violence and raw, gory carnality of the spectacle is downscaled twice in Chun’s work – the first via the miniaturisation of the disaster into a diorama and the second being the distancing of the audience from the diorama via stereo-photography. The diorama is photographed and converted into a stereoscopic slide show. This perhaps highlights the kind of anesthesia that games induces in its young viewers, unconsciously detaching us from the terror of violence to view it as a trivial game.
— ho rui an

race for the prize

dioramic installation

For Mr. and Mrs. Children, Post-Museum, singapore


Kaiqun’s Race For The Prize, a miniature installation of a drain (Long Kang, as we call them) harks back to those days of child’s play when the storm canal was the great, venturesome alternative to the playground. Even as bumbling unconscious children, we knew the canal to be the edge of safe play, where transgression meant plunging to the depths of lurking danger. But the canals were where the tadpoles and the guppies could be found in their elements; and that gave us such indescribable thrill.

Race For The Prize dramatises the sense of danger; what with the watercourse replete with all conceivable forms of nasty physical obstacles. Overcoming these obstacles become the chief objective of players. In the work, what is formerly fun and unmediated then comes to assume a serious visage. Kaiqun makes pointed reference to the first Formula One race to be held in Singapore in September this year. The latter is the embodiment of a certain type of “unfun” the brothers feel strongly against - fun estranged from spontaneity and given to intense commodification and conscientious design upon commercial and tourism revenues.
— Wang Zineng

Extra value meal

mixed media installation


extra value meal, your mother gallery, singapore

Bathed in a light dose of UV light, the framed works in the gallery seem to beckon one’s attention, more so than the 2 monitors placed below eye level, suggesting that the viewer sits. There are at least 8 prints on the wall, 1 paper sculptural piece that resembles an American Happy Meal house complete with withered tree and picket fences, and table with an aluminum tray, paper sculpture shaped like a fast food burger, fries and drink meal.

The humble gallery is nicely filled with new experimental works from the trio who completed Fine Art courses from the Nanyang Academy of Fine Art in 2007. Except for Chun Kai Feng who did a solo show at the Esplanade tunnel-linkway also in 2007, this is the first show Joo Choon Lin and Chun Kai Qun are exhibiting, a sign of commitment to their crafts of manipulative decoupage and printmaking respectively. The stop-motion animation short films created are elementary experiments (compared to their previous works), being more ‘analogous to visual poetry than to prose story-telling’. The rawness, jerky low frame rate, static camera angles show an impatience of the media.

But the low-fidelity of the stop-motion works visually with the more meaningful prints adorning the walls, a potentially explosion of colours if the artist or gallery had access to larger wall mounted LCD screens. By placing the monitors to face each other, one showing a 80’s arcade game styled music, MTV bollywood-styled dance by alternative fast food galore of french fries, patties and burger buns, the other showing transformer fast food toys flying around a stage, strutting their imaginary weapons of make-believe destruction, in Ironman style.
— lim kok boon