Echoes of Compromise: For Everything We Have Said
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For Everything We Have Said (In C Major) is a narrative piece, where the protagonist is coming to terms with his plurality/multiplicities; experiencing an epiphany and accepting the shifts in the tides––that the rhythm of the universe in its wholeness or fragments are in a constant cyclical motion, progressively forming recurring patterns repeatedly.

Echoes of Compromise: First Light– A Drink To Morrow

Echoes of Compromise: After Light– A Potion For The Sun/Son
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Echoes of Compromise: Between Light– A Message To A Dottir/Daughter

Here, sorrow is expressed through poetry, each image reflecting the weight of choices we face. They’re hummed in the darkness of the day and whispered under the brightness of the night as one decides, sacrifice and act.

First Light: A Drink to Morrow: A father–– contemplating his day’s schedule but seemed to gain flashes of tomorrow and beyond instead as he moves through his apartment needing his coffee. [Being-Towards-Death]

After Light: A Potion for the Sun/Son: A father–– questioning the will of a God as his son who is full of potentia, physically ill and as a father; helpless (a transcendental feeling spread across time). [Mortality]
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​Between Light: A Message to a Dottir/Daughter: A father–– anticipating a gift from the Heavens, a new life in the making. An eager father who suspects the secrets of the universe lies within the belly of a mother, hope. [Being-There]

An Inquisition Into The Void Century

Aluminium Foil, Woven Wire Mesh, LED
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"An Inquisition into the Void Century" presents a speculative exploration inspired by the ancient relic known as the Singapore Stone. This artefact, rediscovered in June 1819 and subsequently destroyed in 1843 to widen the mouth of the Singapore River, was believed to contain information about Singapura’s ancient past and possibly insights into a world shrouded in mystery and obscurity, particularly during the 17th century.
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The series of sculptures embraces the irony of materiality, emphasising both weight (symbolising the importance of uncovering and understanding a proto-colonial history) and permanence (representing socio-cultural meta-monuments that exist with, across, or after this history). These sculptures aim to represent what the Singapore Stone might have contained: a range of curiosities, possibly holding the secrets of a covenant, expressions of love, or perhaps even a simple recipe.

This is Where We'll Part: The Perpetual Ending of An Immortal

Aluminium Foil, Woven Wire Mesh, LED, Charcoal Pencil, Oil Paint, Acrylic Paint, Chalk, High-Fired Stoneware
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Rocks, naturally occurring objects that are ever-present but which often go unnoticed, are silent witnesses to the passing of time. Nhawfal Juma’at contemplates the paradox of immortality and the transient nature of existence through a study of rocks. To the artist, rocks are metaphors for the eternal. Yet beneath their immutable surface, they are evolving. This exhibition invites viewers to reflect on how these everyday objects capture human imagination and symbolically act as counterpoints to a world fixated on the idea of legacy.

​Drawing upon his interests in metaphysics and the mysteries that lie beyond earthly existence, Nhawfal’s ruminations manifest in drawing, painting, sculpture and text. A sculptural installation of rock-like forms and renderings of floating rocks evoke a sense of being suspended in the infinite expanse of time and space. This exploration extends to an archival display featuring rocks and ceramics alongside the artist’s philosophical ponderings and sketches. This exhibition reflects on man’s unending quest for knowledge and understanding in the face of the fleeting beauty of life.