Artist Page for Gajah Gallery - Art Jakarta Gardens, 2025 (26th April, Saturday)
Kayleigh Goh
(b. 1993, Johor Bahru, Malaysia)
Known for their formal qualities, Kayleigh Goh’s compositions are highly inspired by the psychological and poetic implications of place — gently moving the viewer to contemplate ideas of home and rest.
Predominantly working with wood and cement, materials which are often associated with buildings and physical space, Kayleigh has developed an artistic practice and technique that conscientiously yet intuitively balances the juxtaposition between the warmth of the exposed natural wood and coldness of the industrial cement to achieve a dissonant yet comfortable sense of harmony.
Exploring themes of memory, solitude, and spatial experience, her works are paradoxically calm, soft, and gentle. Inviting introspection and contemplation, the artist offers viewers access to a metaphysical ‘space’, a temporary escape from the complexities and incongruities of today’s fast-paced lives, and encourages viewers to pause, reflect, and engage with the nuances of stillness and structure.
Micro-landscapes of Bones I
2020, Eggshells, Cement, Gesso on Wood, 30 x 25 cm
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An interplay between the technical use of perspective, texture, and layering of opacities is at focus in Micro-landscapes of Bones I. Kayleigh Goh’s command over these formal qualities has created a trompe-l’œil effect that draws viewers into an illusionary space, as the painting appears to be depicting an illusion of space with depth.
Drafting Window
2025, Acrylic, Cement, Graphiote and Gesso on Wood, 25 x 30 cm
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Carefully delineated graphite lines, making up grids, accompany the structured surface of Drafting Window – adding an element of understated detail and visual interest to the piece.
“Exploring themes of memory, solitude, and spatial experience, her works are paradoxically calm, soft, and gentle. Inviting introspection and contemplation, Kayleigh offers viewers access to a metaphysical ‘space’, a temporary escape from the complexities and incongruities of today’s fast-paced lives, and encourages viewers to pause, reflect, and engage with the nuances of stillness and structure.”
A City Orchestra: Room with Eucalyptus II
2020, City Debris, Eucalyptus, Cement, and Ceramic on Wood,
20 cm (diameter) x 2 cm thickness
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Masterfully composed on a circular base, every element in A City Orchestra: Room with Eucalyptus II has been carefully considered and exists for the sake of achieving a sense of calm.
Eucalyptus, particularly in its essential oil form, is also known for its relaxing and healing properties. Kayleigh’s choice to add it to this piece might be to underlie the composition’s meditative and harmonious essence.
“To Kayleigh, the process of painting is meditative. It is creative relief from emotional stresses and meditations are translated onto her wooden board. Her emotions are palpable – some works feel lighter with the inclusion of openings and windows, and others feel heavy with concrete walls and darkness. But regardless of the predominant emotion, there will always be light in the darkness and vice versa.”
Horizon Gazing with Shades of Brown
2022, Cement, Cement Strengthener, Wood Dye, and Gesso on Wood, 175 x 45 x 1.5 cm
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In Horizon Gazing Shades of Brown, Kayleigh highlights the texture and colour of wood by framing each section with a strip of cement incrementally deepening its tone with wood dye.
“Kayleigh similarly invites us to pay close attention to the little wonders in the everyday, ephemeral moments that pass us by–(…) To her, these intangible experiences are much fuller than tangible possessions. ”
Micro-landscapes of Bones VI (a, b)
2020, Eggshells, Cement, and Gesso on Wood, 76 x 9 cm (each)
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Micro-lanscapes of Bones VI offers a reflection on bones as the microstructures and micro-landscapes of our bodies. Decorative patterns have been painted with gesso onto the wood panels to explore these intricate formations which mark the passage of time as we grow, heal, and engage with the physical world.
Changing Homes, Changing Identities
2024, Cement and Acrylic Paint on Wood, 22 x 17. cm
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The notion that a physical space can be a mirror of its inhabitants inner self is explored in Changing Homes, Changing Identities. In this shifting amalgamation of cement and acrylic paint on wooden blocks, the material building blocks of our built environment, Kayleigh explores the relation between place and human intervention.