#UNIQUE

ARTIST’S STATEMENT As technology becomes increasingly pervasive in today’s culture, aesthetics have evolved too. Applications developed for us to edit and filter our images, enhance and distort our identities to stand out. However, when relying on these, can we truly offer fresh portrayals of ourselves, or will we all stay the same? TEACHER’S STATEMENT Four…

I-You-Us

A recipient of the Curator’s Commendation for 2020 SYF Art Exhibition ARTIST’S STATEMENT She’s the best actress I know. Head bent over a multitude of personas. These facades are those she’ll show to the world, never allowing anyone to see her behind the screen. She is the puppeteer, and the puppets are finding each other…

The Battle of Minds and Selves in The Caretaker

Throughout the play, Davies is pitted multiple times against Mick and Aston as he constantly struggles to establish his dominance in a place where he clearly does not belong. It is largely borne of a survival instinct that Davies first engages in a very one-sided battle with Aston, before Mick enters and aggressively challenges Davies. The survival instinct that initially puts Davies on his guard and sets him into battle is also what leads him to surrender the battle in the closing scene.

Family Relationships in Who’s Afraid of Virginia Woolf?

In Who’s Afraid of Virginia Woolf?, familial relationships, or lack thereof, between characters are presented as being highly illusory and idealised as well as far from the unhappy reality, in order to cope with the latter. Hence, Albee asserts that these falsely intimate familial relationships do ultimately harm to the characters’ mind and selves, despite distracting from the true state of relationship, and must be overcome to confront and mend reality.

‘Prodigal’

‘Prodigal’ by Boey Kim Cheng explores the less-known side of death, in the situation of a son who has lost a father, yet feels no loss. He spotlights the son’s unfeelingness and the reversal of a norm.

Bleakness and Hope in Ariel

While Ariel explores a desolate and oppressive world of black and white where its personae undergo suffering, the collection is ultimately a hopeful and uplifting one of rebirth, represented by the infusion of red that symbolises life, passion and energy. Plath explores how the creative mind imagines the possibility of recovery despite emotional despair, allowing for a redefinition and assertion of the self, reborn through suffering and death. Through the bleakness of a hostile patriarchal society, Plath suggests the hopeful possibility of an empowered female self. As a collection originally beginning with ‘love’ and ending with ‘spring’, Ariel is ultimately hopeful of recovery and renewal, having survived a bleak emotional winter.

‘Rehabilitation, not punishment, should be the purpose of the justice system.’ Discuss.

Since the days of guillotines that sent heads rolling, the justice system has been integral in defending fundamental human values by meting out appropriate punishments to those who violate the law. However,  the nature of the system, its objectives and its symbolism in society remains largely subject to debate, given the fluidity of such human constructs. There seems to have been a gradual shift in attitudes about how the incriminated should be dealt with. Numerous forward-looking societies such as that of Norway have begun to take a rehabilitative approach to the incarcerated, such that wrongdoers are therapized and trained in…

Is the commercialisation of culture necessarily a bad thing?

In the age of capitalization and increased power of money, countries all over the world are striving for the swiftest economic growth. To prioritize this practical way of thinking, many domains in life have become a product sold on the global market. The trade of ideas, products and even culture has put a monetary value…