About
Erwan is an art enthusiast who seeks to deepen his practice by integrating design methodologies with contemporary artistic approaches. Art-making is an iterative and durational process for him, one that demands endurance, trust and a substantial commitment to unfolding meaning.
With a background in product design, his practice is grounded in a sensitivity to material, process and construction, which is then incorporated into the conceptual framework of his work.
Erwan's current work engages with themes of temporality and impermanence, drawing on both personal experience and reflective analysis. In particular, he examines how familial bonds, especially those rooted in blood relations, intensifies emotional responses to mortality, thereby shaping individual perceptions of time and temporal awareness.
Erwan's work functions as a contemplative space, inviting viewers to engage with the tension between presence and absence, impermanence and loss as well as the enduring imprint of memory within the passage of time.
INNA LILLAHI / إِنَّا لِلَّٰهِ (Indeed, to Allah we belong)
INNA LILLAHI / إِنَّا لِلَّٰهِ (Indeed, to Allah we belong) examines how the awareness of mortality reshapes one’s perception of time within familial intimacy. As loss becomes imminent, time destabilises—it accelerates, the future grows uncertain, the present becomes fragile and memory sharpens.
Structured as a triptych, the work centres on the coin clock, a sonic portrait of time producing irregular, overwhelming rhythms. Rooted in the artist’s relationship with his mother, it reflects the tension between emotional distance and biological closeness.
Through handmaking, each curvature on the panels becomes an act of counting. Death is not an endpoint, but an active force transforming how time is experienced and inhabited.
Research methodology and theoretical framework
Existential phenomenology and theoretical frameworks.
Belvia Yusgiantoro
Nehal Agarwal
Sim Li Yan Emily
Ye Min Khant
Yuni Sara Binte Hussaini
Justine Enriquez (Redd)
