Malaysian cultural worker Low Pey Sien spent several months in residence at Rimbun Dahan in 2025.
About the Artist
Low Pey Sien (b. 1991) is a Malaysian cultural worker from Kuantan, Pahang. Her architectural background is a major influence – her works observe the relationship between space, place, and people. She often sees herself as an observer rather than a participant, a listener rather than a creator. She enjoys different perspectives and taking time to understand and put things together into a bigger picture.
She mainly works in photography, film, and graphic media, lately actively exploring themes on body, shame and identity. Her works were exhibited in “Kenduri Seni Patani” art festival organised by Patani Art Space , Thailand (2024), “Continuum” exhibition under the “Creative Access in New Media” online residency, organised by In Transit, UK and Filamen (2024), “No Self, Just Body” exhibition under the “ACAC AiR 2023: Starquakes” by Aomori Contemporary Art Center, Aomori, Japan (2023), and “Women in Film & Photography 2023: Bodies” organised by Objectifs, Singapore (2023).
Her recent video works include video art “Wani-Onna” (2024), dance documentary ”Movement: We Are Bodies” (2022), dance film “La La Li Ta Tang Pong” (2020), video art “Keroncong Kuala Lumpur II” (2017), and video art ”Invisible Old Klang Road” (2016).
When she is not creating, she freelances as curator, producer, and graphic designer, mainly working with her friends, to bring their creative works into this world.
https://www.instagram.com/playstesen/
About the Residency
During my residency at Rimbun Dahan in January and March 2025, I was able to revisit a project that was put on hold due to other commitments. Being in this special retreat gave me time and space to rest, and to focus on editing a short documentary, tentatively titled “Summer Camp”.
Three years ago, My friends and I had the opportunity to document the 4D3N reunion gathering attended by over 100 former Internal Security Act (ISA) political detainees. These former ISA political detainees were mostly detained in the 1960s and 1970s. They shared with us the significant events during their detention, and shared memories of collective resistance in this period of white terror. However, their struggle is not homogenous, they came from diverse backgrounds and political ideals. Even so, they began to understand each other, fostering care, love, support, and resolving conflicts between themselves. Perhaps this is the most important spirit that emerges from the political detention camps—a spirit that is very much needed in our diverse society.
The statement sounds very nice, but actually I’m still at a loss as to how to piece the materials together. At the end of my residency in March, I couldn’t see the form yet. I hope to push the progress a little bit more for this coming open studio in July.
