CORE contemporary art

Post Digital Colours – Regional Edition

Group Exhibition:-

Malaysia
Fadzril Fakaruddin
Faez Fahmi
Loqman Zainal
Tong Xin Lim

Philippines
Ikang Gonzales
Lance Gomez
Regina Reyes

Thailand
Asmawee Karee
Panuwat Kamdee
Thanakan Klannakorn

8th April – 29th April 2026

Core Design Gallery, Subang Jaya

*Click on images to zoom in

  • Post Digital Colours – Regional

In recent years, there has been a noticeable shift in the global visual colour palette, giving rise to a new aesthetic sensibility known as Post-Digital Colours. This emerging concept reflects a growing appreciation for palettes that are simultaneously responsive, immersive, and often only achievable through design software and computer-generated processes. Post-digital colours occupy a unique threshold—straddling the boundary between screen-based artificiality and tangible, analog materiality. This chromatic approach mirrors our deep entanglement with digital interfaces, while also resisting the slick, hyper-perfected visuals commonly associated with purely virtual aesthetics.

In this exhibition, Post-Digital Colours function as a conceptual and visual guide, inviting artists to reflect on and reinterpret the synthetic palettes found in digital environments. Artists explore how colours from digital design tools—clean, sharp, bright hues often seen in RGB displays or four-colour print separations (cyan, magenta, yellow, black)—can be reimagined in physical form. These palettes, often native to screens and software, are examined through various disciplines and each medium transforming digital tones into tactile, material experiences.

Many of the works embrace the visual language of glitch, pixelation, LED glow, and hyper-saturation—yet they are intentionally infused with traces of imperfection, handcraft, and organic irregularity, creating a dialogue between digital precision and human presence. These subtle frictions underscore a larger tension at play: how can technology become part of the artistic process without erasing the mark of the maker? Rather than treating digital colour as static or sterile, the artists in this exhibition imbue it with emotion, memory, and presence—breathing life into what is often perceived as artificial

This exhibition is part of a continuous project that examines how post-digital colour—once confined to the screen—is now spreading into our physical world, reshaping how we see, feel, and create across both digital and analog spaces. It invites viewers to reconsider the nature of colour itself: is it real, simulated, or suspended somewhere in between? As the boundary between virtual and physical realities continues to dissolve, post-digital colours emerge not just as a palette, but as a metaphor—signifying a world in transition, where the human and the synthetic no longer stand in opposition, but collaborate in shaping contemporary visual culture.

As the first iteration of this ongoing project, the exhibition also serves as a platform for artists to experiment, respond, and expand upon the possibilities of post-digital aesthetics. Your contribution plays a critical role in shaping the dialogue around this emerging language of colour—bridging digital influence with material practice, and offering personal, poetic, or political interpretations of a rapidly evolving visual culture.

Rather than providing fixed answers, this exhibition embraces uncertainty, experimentation, and transformation. Your work will become part of a larger conversation—one that challenges conventional boundaries between artificial and organic, digital and handmade, inviting us to imagine new ways of seeing, making, and connecting.

  • MALAYSIA
  • Fadzril Fakaruddin

Mindscapes, textured abstraction, and wonders of the nature form the foundation of Fadzril Fakaruddin’s (b.1995) practice. His work investigates the construction of internal landscapes, navigating the space between observed reality and the manipulation of colour and textures. Drawing from Malaysian batik motifs and organic forms, he develops semi-abstract compositions that oscillates between memory, cultural reference, and imagined terrain. Recurring motifs, such as sunflowers and roses, function as symbolic devices that articulate life’s dualities—growth and decay, harmony and disruption. His use of saturated colour and layered brushwork recalls elements of Fauvism, while remaining anchored within a distinctly local visual language.

In his latest work, Fadzril accentuates a melancholic sensibility as an ode to the serenity he experienced during his journey to Kazakhstan. The snow-covered landscape unfolds as something melodic and poetic—minimal yet deeply evocative—capturing the quiet transition from night to dawn. The soft, cloud-like textures of snow hold a warmth within stillness, carrying memories worth revisiting, where each journey finds its own emotional climax.

“This painting is a quiet memory of a winter far away, where snow fell gently and time seemed to slow. It holds the feeling of stillness, wonder, and the soft beauty of a place that lives on in my heart.”

Inspired by this journey, the work reflects winter not as a literal place but as fragments of lived moments—snow-covered mountains, silent trees, and flowing water. As the snow gently falls, it softens the landscape into a space of introspection, where time slows and silence carries warmth. The painting becomes a memory held in stillness, a quiet echo of a winter that continues to live within him.

  • Faez Fahmi

Faez Fahmi (b. 1998) is deeply rooted in his upbringing in Bachok, Kelantan, where the countryside and seaside shaped his sensitivity to light, form, and time. In his debut solo exhibition “Luar Jendela”, Faez translated these experiences into abstract, poetic interpretations that merge cultural heritage with contemporary sensibilities. His distinctive method of building layered textures creates an illusion of emerging, almost tactile imagery.

His visual language is grounded in sincerity, cultural memory, and personal emotion. Employing humble yet potent materials, he explores themes of identity, nature, and harmony, creating works that resonate with depth and immediacy. Through rich textures and floral patterns, his compositions reflect both the vibrancy of his Kelantanese roots and his lived experience, where personal memory and environment converge.

“The Garden After Colour” reflects the duality of time—dawn and dusk, sunrise and sunset. In this work, colour becomes the dominant visual language, shaping the composition beyond representation. Bright, hyper-saturated hues create an intense, layered experience, where floral forms emerge from bursts of colour, evoking a post-digital condition influenced by screens and contemporary visual culture. Layer by layer, the composition unfolds with a poetic rhythm, suggesting the passage between night and day, and presenting a landscape formed through the intersection of nature, technology, and imagination.

  • Loqman Zainal

Originally from Malacca, Loqman Zainal (b. 1995) holds a Bachelor’s degree in Fine Arts and held his first solo exhibition, “Interlude“, in 2022, marking a key milestone in his artistic development. Active in the art scene since 2018, he continues to build momentum through exhibitions and competitions. His practice translates scenic landscapes into a hybrid visual language that blends interior spaces, symbolizing notions of home, unity, and comfort.

Alongside his painting practice, Loqman also works in graphic design and photography. These disciplines inform his visual approach, where he translates moments of nature onto canvas, often framed in a structured, photo-like composition that reflects his photographic background. For Loqman, photographing nature is a source of peace and tranquillity, and through his works, he shares these quiet, ethereal experiences shaped by years of observing the natural world through his lens.

His works explore the interplay between two opposing elements: the calm, structured interior and the free, untamed landscape beyond. This contrast creates a quiet balance while evoking curiosity and anticipation. Though devoid of human figures, traces of presence linger through objects and spatial arrangements, suggesting memory and inhabitation. The home becomes a vessel of memory, while nature serves as both a site of experience and a reflective space for reconnection.

  • Tong Xin Lim

Tong Xin Lim (b.2001) is an emerging Malaysian artist whose practice blends traditional and contemporary approaches to explore themes of identity, culture, and personal experience. Trained in fine arts, she has developed a distinctive visual language marked by intricate detail and a sensitive engagement with mixed media. Her works often reflect her cultural heritage while responding to the complexities of contemporary life, forming layered visual narratives that resonate with both personal and collective memory.

In this work, Tong constructs a fragmented, abstract cityscape through a pixelated grayscale background, evoking the disjointed and constructed nature of the modern, man-made environment. The rigid, repetitive structure of the city suggests a world shaped by systems, density, and distance—where clarity is disrupted and perception becomes fragmented.

In contrast, the foreground presents a delicately balanced stack of vividly colored stones, symbolizing the quiet resilience and grounding force of nature. As towering urban forms obscure the sky and moments of stillness, the work gently reminds viewers of nature’s enduring presence—inviting reflection on balance, awareness, and the need to reconnect with what remains essential yet often overlooked.

  • PHILIPPINES
  • Ikang Gonzales

Ikang Gonzales (b. 1995) is an artist based in Quezon City with a background in Architecture and Fine Arts. Her practice explores light as both subject and medium through intricate oil paintings on translucent fabric. By weaving light and pigment into a single illuminated surface, she creates works that are at once delicate and immersive. Her visible brushstrokes reveal the vulnerability of the process, allowing viewers to witness the act of making in an intimate and unguarded way.

Working within a digital age saturated with information, Ikang reflects on a collective longing for tactile and nostalgic experiences. She draws from the impulse to hold onto objects of the past—things that feel manual, mechanical, almost acoustic—as a response to the speed and excess of contemporary life. Her works become spaces of stillness, inviting quiet reflection amid constant visual noise.

In “End of Beginning“, Ikang departs from her usual lightbox constructions, allowing natural light to pass through the surface. The depicted interior—an unmade bed, softened morning light, and traces of everyday presence—evokes a moment suspended between absence and memory. The quiet disarray of the space suggests a life just lived, where time lingers gently. Here, light is not only illumination, but a carrier of emotion—marking a subtle transition, where endings and beginnings quietly converge.

  • Lance Gomez

Lance Gomez (b. 1997) merges minimalism with a subtle sense of theatricality, drawing viewers into the quiet drama embedded within everyday objects and landscapes. His works construct restrained yet evocative scenes where symbolism and composition transform the ordinary into sites of reflection, shaped by both his natural and social environment.

A contemplative stillness permeates his paintings, often accompanied by an underlying tension that evokes isolation and introspection. Drawing from Impressionist sensibilities, Lance focuses on capturing atmosphere and fleeting light rather than direct representation, using layered hues to shape mood and perception. As a keen observer of history, his practice engages with contemporary issues in the Philippines, examining how the past continues to inform present realities.

In his latest works, Lance extends this inquiry by exploring color as a precursor to the “filter.” Through layered tones of blues, teals, and deep greens, each brushstroke functions as a lens—suggesting that contemporary digital filters are rooted in painterly traditions, transforming ordinary landscapes into perceptual and emotional atmospheres.

  • Regina Reyes

Regina Reyes (b.1993) reflects on memory, womanhood, and time through a language that is both intimate and evocative. In her recent works, she turns to recollections of the 1990s—a time she associates with vivid, unfiltered color and tactile experience. The scattered floral compositions and expressive figurative scenes recall a sensibility shaped before digital mediation, where colors felt immediate, unprocessed, and deeply personal. These works evoke a softness and spontaneity that mirror memory itself—fragmented, layered, and emotionally charged.

Through fluid brushstrokes and shifting palettes, Regina contrasts this remembered clarity with the altered perception of the present. The works suggest a tension between past and present—between a world experienced directly and one filtered through screens and systems. Her imagery does not reject change, but instead lingers in the space between resistance and acceptance, holding onto the emotional truth of memory while acknowledging transformation.

In this body of work, color becomes both subject and vessel—carrying nostalgia, dissonance, and quiet reconciliation. Regina captures a fleeting state of in-betweenness, where the desire to preserve what was coexists with the need to move forward.

  • Thailand
  • Asmawee Karee

Asmawee Karee (b. 1999) is an artist from Betong, Thailand, who recently graduated with a Master’s degree in Visual Arts from Silpakorn University, Bangkok in 2025. Since 2019, he has been actively participating in art competitions and exhibitions. In 2022, he was awarded the Bronze prize in the UOB Painting of the Year (Emerging Artist category) and received an art education scholarship from the Statesman Foundation General Prem Tinsulanonda to further pursue his artistic practice.

In his work, color functions not merely as an aesthetic element but as a symbolic language that expresses emotional states and lived experiences. Through the use of contrasting warm and cool tones, Asmawee constructs atmospheric imagery that reflects the duality of day and night—suggesting hardship alongside quiet anticipation and resilience.

This series is inspired by the flooding that occurred in southern Thailand in 2025. Interpreting the event through layered compositions of submerged homes, scattered objects, and drifting forms, the works transform a moment of crisis into a contemplative visual narrative. The scenes evoke both loss and stillness, where devastation coexists with a sense of endurance and hope.

  • Panuwat Kamdee

Panuwat Kamdee (b. 1999) is an artist from Lamphun, Thailand, currently pursuing a Master’s degree in Visual Arts at Silpakorn University, Bangkok. Working with natural pigments and whimsical illustrative elements, his practice reflects a deep passion for Thai myths, legends, and narratives. Since 2020, he has actively participated in exhibitions and art projects, and in 2021 was awarded a creative art scholarship from the Statesman Foundation General Prem Tinsulanonda.

His works are expressed through a distinctive painting style using pastel techniques, producing soft, smooth tones and a warm, approachable character. Rooted in Thai myths and cultural narratives, his practice reinterprets traditional storytelling through a contemporary lens with clarity and sensitivity.

Central to his imagery in Moonfaith, he visualizes the folklore of the moon rabbit—a symbol of selfless sacrifice and enduring kindness passed down through generations. The purity of this belief, of a rabbit residing on the moon’s glowing surface, evokes a quiet sense of wonder and childhood innocence.

Alongside this, the work Phanuwat represents prosperity, hope, and the beginning of a journey. The child wearing a lion head embodies youth, growth, and the nurturing of inner strength. Under this gentle light, each step forward is no longer a simple movement, but a stride carried by courage, energy, and hope—reminding us that every journey begins with belief.

  • Thanakan Klannakorn

Thanakan Klannakorn (b.2000) is a Bangkok-based painter whose practice examines the relationship between object, time, and perception. He earned his Bachelor’s degree in Painting from Poh-Chang Academy of Arts and a Master’s degree from Silpakorn University. His work recontextualizes overlooked everyday objects—such as plastic flowers, fabric remnants, and discarded materials—within carefully constructed pictorial spaces. Through a meditative and meticulous process, he positions painting as a temporal and emotional field where perception unfolds gradually rather than as a fixed image.

Fundamental to his practice is the idea of “intervals” between image, object, and meaning. By placing mundane materials within compositions informed by symmetry, geometry, and baroque lighting, these objects exist in a state of in-betweenness—both familiar and estranged. Drawing from frameworks such as appropriation and deconstruction, Thanakan treats objects as carriers of memory that, once displaced, lose their original function while gaining new interpretive possibilities. His works invite slow looking, where silence, duration, and ambiguity shape the viewer’s experience.

In this work, he explores the tension between digital artificiality and material authenticity. Referencing Woman with a Parasol, the composition layers visual histories—from Renaissance order to Baroque drama—while mimicking the aesthetics of print and pixelation. Rather than revisiting the past, the work reflects a contemporary visual condition shaped by screens, where history is encountered as reproduction. The figure becomes a vessel of accumulated images, traversing centuries of beauty while preserving them against time’s erosion.

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