Derivatives of Decay
Kimberly Eikaas, Joan Goh, Elizabeth Kong, and Kylie Lee
Curated by Haden Lim
Group Exhibition
18 – 26 July 2026, 11am – 7pm
What differentiates the preserved from the derivative?
Derivatives of Decay responds to the accelerating embrace of technology amidst observed cultural erosion, where the line between the machine and the human continues to blur. As digital solutions permeate systems that govern daily life, the artists interrogate their influence over personal memory, shared culture, embodied experiences, and spiritual practices.
Experimenting with technology as a cornerstone of the art-making process, the artists critically probe the nuances of conflating technology with human-centred rituals, traditions, and narratives. Through sculpture and installation, fragmented memories are reanimated, flattened, replicated, and recycled. The virtual is made tangible, revealing fault lines within projections and digital copies in its attempt to archive human memory and experience.
The exhibition recognises the collective haste to copy and enshrine, yet it points to the lingering futility of preservation as the artists continue to make sense of ever-dissolving personal narratives and subjective memory.
About the Artist(s)
Joan Goh (b. 2004) is a developing multimedia artist specialising in mixed media installations. Her works often navigate topics of spirituality and religion, and how they shape the perception of the female body. Most recently, her current practice explores the use of perishables, delving into the tangible and intangible of spirituality, and the spectrum that exists in between the two.
Kimberly Eikaas (b. 2005) is an artist working across sculpture, installation, and interactive media. Her practice examines how ubiquitous technologies reshape our perception, both visual, spatial, and bodily, and considers the disembodiment that follows, reflecting on what is lost as our lives become increasingly enmeshed with technology: an erosion of the more ineffable elements of life and reality.
Kylie Lee’s (b. 2005) practice explores artificial intelligence, memory, and contemporary systems of knowledge-making. Working across installation and generative media, she investigates how identities, relationships, and beliefs are shaped through interactions with computational systems. Recent experimentation draws from personal histories and speculative inquiry, approaching technology as a site of encounter, asking what our engagement with intelligent systems reveals about ourselves and how these exchanges reshape perception, meaning, and human experience.
Elizabeth Kong (b.2005) is an artist whose practice explores preservation and its limits. Through painting, installation, and object-based works, she examines how people attempt to retain presence in the face of absence, loss, and change. Her work considers the traces left behind by people, places, and moments that resist being fully preserved.
About the Curator
Haden Lim is an emerging curator and student at the BA (Hons) Art Histories and Curatorial Practices: Asia and the World programme at LASALLE College of the Arts. Haden’s curatorial practice explores how regional history, politics, and collective memory shape the rhythms and norms of urban Singapore. Her practice examines the formation of contemporary identity and culture, challenging dominant narratives through critical discourse. She made her curatorial debut in 2026 with Vivarium, a collaborative project between LASALLE and Jung Saem Mool that spotlighted selected artworks by select LASALLE BA (Hons) Fine Arts Year 1 students.
