Noor Syafiqah Binte Mohammed Faizal
Syafiqah’s artistic practice is multifaceted, encompassing a diverse range of mediums. She is also known as BOBBLES, now BRONZ. She explores how street art intersects with contemporary practices using nature as her main medium.
Syafiqah demonstrates her commitment to the community through her internship at the Down Syndrome Association (Singapore), where she supported inclusivity and development projects. Additionally, she has volunteered with organisations such as the Children’s Cancer Foundation and ART:DIS. She has also developed Mindful Crafting with Holding Ground, a workshop for mothers, demonstrating her ability to create meaningful art experiences.
As I delve deeper into exploring the relationship between art and sensory issues within the special needs community, I recognise the vital role of collaboration. Through my work, I aim to create a space within Singapore that invites society to break the norms of labeling communities and foster inclusivity, enabling individuals with diverse backgrounds to participate, and experience art.
Concurrently, in the lens of a street artist, I explore and experiment the use of public spaces, where the participatory of the public, stakeholders, and their reactions becomes part of the artwork.
In my artistic practice, I experiment and blend various mediums–textile, drawing, painting, and digital forms to craft immersive and experiential art.
Year: 2026
Medium: Transparency Leaves on Acrylic Board, Wooden blocks
Statement:
BOBBLES explores the boundaries and ethics of public space through subtle interventions using fallen leaves as the primary material. By arranging the leaves into repeated square formations, she establishes a visual language that disrupts their organic state and introduces visible marks within shared environments, prompting viewers to become more aware of their surroundings. Throughout the process, these arrangements are altered, naturally by wind and deliberately through acts of removal. This impermanence becomes central to the work, questioning the ethics of intervening in public spaces and examining authorship, control, and responsibility within collectively owned yet regulated environments. As the work progresses, the artist further intervenes by cutting precise, structured shapes into collected leaves and photographing them before decomposition, introducing a tension between ephemerality and preservation.