CULT Gallery

Wishing you a blessed Eid from Malaysia, may peace be upon us all. Artwork by Ahmad Zakii Anwar. Stay tuned for Cult announcements after Eid. We have just moved into our new space ❤️🙏👍

Happy Happy Chinese New Year of the Fire Horse from Cult Gallery. We look forward to sharing our new space and 2026 plans with you. We have been busy preparing to introduce you to our new world of creativity. Here’s to galloping into the New Year with strength, spirit and determination.

Happy New Year!

We’re deeply grateful for your continued support throughout an eventful 2025.

The closing of our physical gallery last year marked the end of an important chapter in Bukit Tunku. As we look ahead, we’re excited to share new projects with you in 2026. Stay tuned!

Artwork featured:
Binti
Funemployed: Januari - Student
29.7cm x 42cm
Mix media on paper

As we close, here’s a throwback to Aisha Rosli’s Solo Exhibition ‘Lukewarm’ held at the charming . Thank you to everyone involved, and to for connecting us with the lovely 🫶🏽 The moments along the way made this show especially meaningful 🕊️

This marks our last show of the year. Till next time, adieu! ✨

Last day to catch Solo Exhibition ‘Lukewarm’ in collaboration with at ❗️

It is in the spaces we call our own, among our treasures, and in being solitary, we feel permission to truly disarm. These are one of the very few spaces that grant a young
woman’s vulnerability. Yet the concept of space seems like a looming topic of conversation for young Singaporeans. Space exists dichotomously as an issue and an idea (bordering the imaginary). In Singapore, residences are so crammed, people feel as though they open their kitchen doors into their neighbour’s window. To this, Rosli says ‘When you are among so many people, you hide more.’ Retreating into our shells as we seek more room for ourselves to be. She continues, A lot of people question ‘Why domestic spaces?’ I have no freaking idea, like when I paint something outside right, but they still have windows, doors and tiles which led to the question arising again. I realised all these pretty things like furniture in enclosed spaces with patterned wallpaper – you know how when you have a house, you have to beautify it right?
It’s what I do with my work.
The mind is a home, too. As is the body, a temple. — exerpt from essay on Lukewarm.

📍 Tong Shin Terrace (Upper floor)
🗓️ Open Tue to Sun (Closed Monday)
⏰ 11.30am – 6pm
🎟️ Free entry

Artworks featured:
Aisha Rosli

It won’t be long
2024
Oil on canvas
150 x 124 cm

Hanyut
2025
Oil on canvas
41 x 52.5 cm

In a cage
2025
Acrylic, oil and fabric on canvas
97 x 76 cm

Installation shots from Aisha Rosli: Lukewarm at Tong Shin Terrace. Last 3 days to catch it before we wrap up the year! ✨

Alongside the exhibition, there’s silkscreen session on 10 Dec, 12pm (sign up via the link in her bio) and “Go to the Limits of Your Longing” with An Evening of Reading Rilke on 11 Dec, 6.30–8.30pm (free admission with registration).

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Exhibition runs until 11 December at .
DM us for the catalogue or sales inquiries.

📍 Tong Shin Terrace (Upper floor)
🗓️ Open Tue to Sun (Closed Monday)
⏰ 11.30am – 6pm
🎟️ Free entry

Walking through the halls of Tong Shin Terrace, you may notice a quiet population of figures. Some unmistakably human, others only human-ish, as if carved out of drifting fog. This spectrum of presence and absence appears throughout work, including pieces such as Without Me, Heavy, and Have grown older and colder.

When asked how these forms emerge, Aisha explains that everything begins with watermarks that flows on paper that move with their own logic. From these fluid beginnings, she slowly coaxes certain contours into clarity while allowing others to remain unbound. The result is a visual language suspended between definition and dissolution.

In this moment, when so much of contemporary life oscillates between the tangible and the intangible, between digital traces, shifting identities, and the haziness of memory, Aisha’s figures feel uncannily present.

Frank Gehry Dead at 96 An homage to architecture’s great liberator and master of the curve, who borrowed from artists and aerospace to “orchestrate agita.”

The Love of My Life is a self-portrait in a true sense as it captures the persona beyond her visage. The subject inhabits a contorted form that stretches to take up most of the picture plane. Her curves are accentuated even down to the curve of her back that rounds into a hunchback yet the woman shows no sign of adjusting herself for our gaze. She sits and gazes upon the brush in hand, her only device into breaking the fourth wall. With the brush, the female figure we identify as Aisha Rosli herself, wields the power to present herself. In this, a contradiction. We observe a disarmed woman, who beyond the canvas is not disarmed - excerpt from Lukewarm by

—
Exhibition runs until 11 December at .
DM us for the catalogue or sales inquiries.

📍 Tong Shin Terrace (Upper floor)
🗓️ Open Tue to Sun (Closed Monday)
⏰ 11.30am – 6pm
🎟️ Free entry

Artwork featured:
Aisha Rosli
The love of my life
2024
Acrylic, oil and oil pastels on canvas
79 x 54.5 cm