• Yeo Kaa, The End of Suffering (quadriptych), acrylic on canvas, 152 x 488 cm
  • Yeo Kaa, The End of Suffering (I), 2017, acrylic on canvas, 152 x 122 cm
  • Yeo Kaa, The End of Suffering (II), 2017, acrylic on canvas, 152 x 122 cm
  • Yeo Kaa, The End of Suffering (III), 2017, acrylic on canvas, 152 x 122 cm
  • Yeo Kaa, The End of Suffering (IV), 2017, acrylic on canvas, 152 x 122 cm
  • Yeo Kaa, You Don't Need Anyone to Feel You're Worth It, 2017, acrylic and fine art print on Hahnemühle paper, 132 x 102 cm
  • Yeo Kaa, Toxic and Insecure, 2017, acrylic and fine art print on Hahnemühle paper, 132 x 102 cm
  • Yeo Kaa, Good night, yeokaa, 2017, acrylic and fine art print on Hahnemühle paper, 132 x 102 cm
  • Yeo Kaa, Self Contentment, 2017, acrylic and fine art print on Hahnemühle paper, 132 x 102 cm
  • Yeo Kaa, Surrounded by many and still feeling lonely, 2017, acrylic and fine art print on Hahnemühle paper, 132 x 102 cm
  • Yeo Kaa, ANXYANXYANXY Nights, 2017, acrylic and fine art print on Hahnemühle paper, 132 x 102 cm

Yeo Kaa

Alone But Not Lonely

Curated by Ruel Caasi

27 Jan - 4 Mar 2018

Yavuz Gallery is proud to present Filipino artist Yeo Kaa in ALONE BUT NOT LONELY, her first solo exhibition in Singapore. The exhibition opens on 26 January 2018 during Singapore Art Week, and coincides with Gillman Barracks’ Art After Dark event.

The collection of new works by Yeo Kaa in ALONE BUT NOT LONELY asserts independence and fulfilment from solitary life, dealing with the theme of cherishing moments of being alone and seeking happiness and comfort by one’s self. The other side to attachment or commitment in relationships, as well as being in the company of crowds, is implied in the works: the loss of personal space and freedom, and a feeling of unfamiliarity towards one’s own being. Here, the absence of companionship unexpectedly becomes a productive state, one that leads to self- discovery, empowerment, and the appreciation for the simple joys of life.

These musings are related in vibrantly composed scenes and tableaux with the recurring figure of a big-eyed girl, a familiar image in most of her paintings. While this character can be thought of as an extension of the artist’s personality, it can also be an anonymous figure which lends itself to the representation of anyone who identifies with the sentiments, fears, worries and anxieties the artist often purges in her works.