Contemporary artist Sharon Chin is exploring themes of change, loss, and adaptation in her new solo exhibition, Missing From The Scene, which is currently on display at The Back Room gallery in Kuala Lumpur until November 1. The exhibition, curated by Eric Goh, draws on Chin’s observations of environmental and social shifts in her hometown of Port Dickson, Negri Sembilan, where she has lived for over a decade.
The show presents three interconnected series—Missing Actors, Holding Form, and Restless Spirits—that together examine the disappearance and transformation of local wildlife and the broader ecological landscape amid ongoing development. Through a variety of traditional printmaking methods, including linocuts, collagraph prints, and shadow puppetry, Chin uses tactile, handmade materials to emphasize the physical and communal aspects of change.
Missing Actors features linocut prints inspired by Chin’s earlier work for Creatures Of Near Kingdoms, a 2018 book co-created with her partner Zedeck Liew that illustrated Southeast Asian flora and fauna. In this series, animals that once thrived in their natural habitats are notably absent, a deliberate visual metaphor for environmental decline observed since her move from Kuala Lumpur to Port Dickson over a decade ago. “Even in a small-town setting like Port Dickson, the surroundings have notably changed,” Chin said, noting the contrast between earlier encounters with wildlife and their current reduced presence.
The Holding Form series comprises thirty wayang kulit-style shadow puppets constructed from repurposed Tetra Pak containers. These puppets, equipped with moveable limbs for the first time in Chin’s practice, represent animals that have effectively become shadows of their former selves, reflecting their disappearance from local ecosystems. This series also prompts reflection on the fate of traditional folk stories and the creatures that once inspired them.
Restless Spirits, the final series, features collagraph prints of overlapping shadow puppets on handmade Kitakata paper using colors inspired by Port Dickson’s natural environment. This assemblage symbolizes the necessity of leaving old narratives behind to embrace new forms of existence, highlighting the challenges and uncertainties involved in adaptation. Chin described this as a metaphor for interconnectedness and community, noting that no individual or species exists in isolation.
Chin’s engagement with sustainability extends beyond thematic concerns into her use of recycled and locally sourced materials throughout the exhibition. Antique furniture and rust-colored beach stones, displayed alongside her artworks, further ground the show in a sense of place and history.
The exhibition is supported by artist talks, informal tours, and panel discussions aimed at fostering dialogue about the evolving Malaysian arts scene. Chin is also conducting a survey among local artists titled “What/who is missing from the scene?” to stimulate broader conversations about absence and presence in cultural spaces.
Reflecting on her 15 years in Port Dickson, Chin emphasized how her work has grown increasingly connected to her immediate environment. “Being in touch with the immediate reality that’s around me ... gives me a deep sense of belonging,” she said.
Missing From The Scene is open Wednesday through Sunday, from noon to 6 p.m., at The Back Room in the Zhongshan building. Admission is free. Further information can be found at thebackroomkl.com and sharonchin.com.