Madness Measured

A SPECTRUM OF DISCIPLINE AND DISRUPTION FOR INTERNATIONAL WOMEN’S DAY

Venue: INSTINC Space, 39 Keppel Rd, #03-10 Tanjong Pagar Distripark, Singapore 089065

Exhibition Duration: 26 February to 8 March 2026 | Wed-Fri, 1PM-7PM. Sat - Sun, 1PM-6PM

Opening Reception: 26 February 2026 (Thu), 5:30PM–8:30PM
with Performance by Sophia Natasha Wei, 6PM-6:30PM

Fireside Chat: 28 February 2026 (Sat), 3-4PM

Closing Tour: 8 March 2026 (Sun), 3-4PM

Discipline meets disruption. This International Women’s Day, INSTINC presents Madness Measured: a spectrum of women artists navigating the razor’s edge between control and chaos. Madness Measured brings together eight women artists whose practices span new media, glass, photography, painting, video, installation, and performance. Their works emerge from the delicate equilibrium between structure and pure creativity, each cultivated with intense care and a degree of risk. The exhibition proposes a new way of interrogating these artists’ practices, exploring the dual forces of creation: the Measured—rigorous technique and the Madness—the chaotic intuition required to break new ground. As you navigate the space, you are invited to witness how the artists tread the line between the two. Here, Madness is not a loss of control but a deliberate calibration of intensity. It is the moment the ceramicist surrenders to the fire, the coder invites the error, and the painter breaks the grid. This is a celebration of women who master the rules only to rewrite them.

Featuring artists: Dongyan Chen, Joanne Pang, Joo Choon Lin, Natalia Ludmila, Sophia Natasha Wei, Tan Sock Fong, Yeo Shih Yun, Yeoh Wee Hwee

Infinite Melt
Yeo Shih Yun 
2026
Installation with 3D sugar printing machine, digital video, traditional candy stand, and 3D printed candy
Dimensions variable

“Since 2010, I have worked with ink, machines, and now sugar—not as tools, but as collaborators. In Infinite Melt, I navigate the tension between the "Method" of digital rigour and the "Madness" of material disobedience.” Shih Yun

My Method is born from a personal paradox. I possess a deep love for the beauty of Chinese calligraphy, yet I cannot write it with a traditional ink and brush. This limitation became my catalyst. It is precisely why I chose the character Hua (化)—the symbol for transformation. Its evolution mirrors my own struggle to translate an ancient aesthetic through modern means.

The design process is an obsessive, technical loop: my robot’s brushstrokes are interpreted by AI, refined in Photoshop, and simplified through endless cycles of testing. Technology and tradition do not compete here; they coexist, looping like the infinity sign embedded within the work. My madness lies in the medium itself. By tradition, ink is painted, permanent, and purely visual; it is certainly not meant to be eaten. I chose to break these fundamental rules by rendering the work in maltose. This is a calculated disruption: replacing the archival stability of ink with the fragility of sugar.

In this exhibition, madness is not a loss of control, but a deliberate calibration of intensity. It is the choice to use high-precision robotics not to build something that lasts, but to create something that melts. Driven by the weight of the humidity, the installation begins a slow-motion collapse; as the hours pass, the candy loses its grip and falls to the floor, piece by piece. By the end of the exhibition, the work has entirely vanished from the wall, leaving nothing but the memory of its form. Infinite Melt is a race between creation and dissolution, where the sweetness of the medium meets the weight of history, and the artwork—like the character it depicts—slowly exhales, until it is gone.

我的创作源自一种切身的矛盾：我痴迷书法的气韵，手里却握不住传统的笔墨。这种无力感，最终逼出了我的本能。这也是我选择“化”字的原因——它代表蜕变，而它演变的过程，正是我挣扎着用现代语言去转译古老美学的缩影。创作的过程是一场近乎执拗的循环：我让机械臂落下笔触，交由机器解读，在数字空间里一遍遍打磨、精简、测试。在这里，技术和传统不再争夺话语权，它们首尾相连，就像作品里那个无限循环的符号。

而真正的疯狂，藏在材质本身。按理说，墨是落在纸上的，求的是永恒，绝不是用来吃的。但我偏要用麦芽糖来写。这是一次刻意的破坏：我不要墨迹的万古长青，我要糖的脆弱与无常。在这个空间里，疯狂不是失控，而是我对张力的一种本能把控。我用最高精度的机械臂，不是为了建造永恒，而是为了造一场“消融”。顺应着空气里的潮湿，这件装置开始了它慢动作的崩塌。随着时间流逝，糖块慢慢失去抓力，一块块剥落、坠地。等到展览落幕，墙上的字会彻底消失，什么也不剩，只留下一场关于形式的残影。

《Infinite Melt》是一次创造与毁灭的赛跑。当糖的甜腻撞上历史的厚重，这件作品——就像它所描绘的那个“化”字一样——在最后一口微弱的吐息中，化为乌有。