Fiona Amanda Putri Binte Herman Yadi


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Fiona Amanda Putri (b. 2001, Singapore) is an interdisciplinary artist whose practice explores self-identity and the Malay culture through performance film and textile. Grounded in storytelling, her work seeks to preserve and honour traditional practices by engaging with materiality, memory, and embodied performance. By bridging ancestral knowledge with contemporary expression, Fiona investigates how cultural continuity shapes personal and collective understandings of heritage in today’s society.

Fiona received a Diploma in Interior Design from Singapore Polytechnic in 2021 and is currently pursuing her Bachelor of Arts (Honours) in Fine Art at Nanyang Academy of Fine Arts, University of the Arts London. Fiona has exhibited in both Singapore and London, including Menagerie, From Nowhere, Stories of Care (Cycle #4), and Flagship Genius Featuring Văn Miếu-Quốc Tử Giám.Growing up in Singapore and Tanjung Pinang, I was surrounded by Malay classical poetry and rituals, which formed an integral part of everyday life. I was constantly immersed in the oral recitation of texts and the retelling of ancestral stories, which shaped my earliest understandings of identity and morality. Drawing from Malay traditions and personal narratives, my work acts as a form of storytelling that reimagines and reclaims cultural knowledge in contemporary contexts. Through performance, film, and textile, I trace gestures, rituals, and fragments of language that slip between the domestic, the spiritual, and the everyday. Each work becomes an act of preservation, transformation, and a dialogue between heritage and selfhood.



Title: Tak tahu malu (Shame on you)
Year: 2026
Medium: Performance Film
Statement:

"Tak tahu malu" explores how shame, desire, and spiritual aspiration are negotiated through the Malay-Muslim female body. Through ritual performance and film, the artist works with mud, clay, and the kemban as 'second skin', to examine how aib (disgrace) and dosa (sins) are inscribed onto everyday gestures, the way we dress, and domestic spaces. By moving between intimate (bedroom) and communal (dining) settings, the work traces a shift from private to collective forms of shame. Grounded in the artist's personal relation to Gurindam 12 (poems about moral/spiritual conduct) and how inherited texts, rituals, and expectations are embodied, resisted, and reimagined as the artist attempts to reconcile tradition with the complexities of becoming.