Silverlens is pleased to present Collectors Plus, on view from 30 May to 11 July 2026 at the Silverlens Den. 

Tracing parallel investigations into image, structure, gesture, and spatial perception, this iteration brings together a focused selection of works from Southeast Asian contemporary practice articulated across the past three decades.

Material experimentation and formal inquiry emerge early in the presentation through the works of Raffy Napay, Syagini Ratna Wulan, and Syaiful Garibaldi. Napay’s Sisidlan (2020) employs his distinct thread-on-canvas technique to create a tactile, undulating surface that captures a sense of excited longing. A homage to the metamorphosis of a butterfly, the work mirrors Napay’s transition into fatherhood, referencing the "small, fuzzy seed" seen in an ultrasound. His labor-intensive process of entwining each strand serves as a metaphor for a new family chapter, where every individual stitch contributes to a beautiful and unique whole. This organic growth is placed in dialogue with Wulan’s I see you (2018), an atmospheric canvas that expands painting into a field of movement and accumulation; meanwhile, Garibaldi’s Rumkilu #2 (2017) employs spores on paper which intersect art and mycology that foregrounds the invisible, microscopic architecture of life. 

The exhibition highlights pivotal moments in the careers of its featured artists, such as Geraldine Javier’s The Guardian (2010). This seminal work bridges the organic and the manufactured by combining her signature oil painting with framed embroidery and preserved insects. Part of a series of three Guardian paintings that range from a child with a wooden sword to the mythological Cerberus, this specific iteration depicts Destiny, a figure inspired by the Sandman series. The inclusion of biological specimens alongside intricate threadwork stands as a profound exploration of preservation and the macabre, reflecting the material experimentation that has come to define Javier’s practice.

Representing a more contemporary timeline, Dina Gadia’s Untitled (2025) utilizes a collage-based logic to subvert mid-century graphic tropes. Inspired by a tarpaulin draped over a butterfly cutout, Gadia observes that such synthetic materials are now more abundant than the insects they replace. She treats the butterfly as a multifaceted symbol, ranging from kitschy stationery to a folk omen of a visiting loved one. By translating this encounter into a painting rather than a mere snapshot, she uses the image as a form of viewing modern social anxieties through the prism of displacement. Similarly, Pow Martinez is represented by a decade of evolution, from the satirical energy of Kiddie Basketball (2014) to the expressive bravado of law and order (2020), demonstrating a consistent ability to translate the grotesque and the mundane into monumental painting.

The exhibition also features an intimate look at the domestic through the works of Yasmin Sison. From her 2000 painting Josie’s Fridge to the Little Liars archival prints from 2011, Sison captures the vulnerability of childhood and the quiet narratives embedded in personal spaces. These are placed in dialogue with Gilda Cordero Fernando’s Bedtime for Family (1997), an aquarelle work that reflects the late artist’s whimsical yet poignant perspective on Filipino life.

The presentation is further contextualized by the meticulous graphite works of Patricia Perez Eustaquio and the rigorous formal inquiries of Maria Taniguchi and Mit Jai Inn. Originally conceived for a Ho Trai, a traditional library for sacred Buddhist scriptures, Jai Inn’s Untitled AP26-1 (2026) grounds his practice in themes of impermanence and the passage of time. His compositions are spare and unstable, as though erosion has already begun its work; these forms hover between emergence and erasure, sustaining a sense of presence without fully revealing themselves. Complemented by the evocative paintings of Soler Santos and Gene Paul Martin, the exhibition resists a linear narrative, allowing diverse practices to intersect, interrupt, and refract one another.

Collectors Plus is on view from 30 May to 11 July 2026 at the Silverlens Den.