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Each Fine Art Print is titled, numbered and signed in Ketna’s handwriting.

Depending on each composition’s ‘personality’, colour spectrum and destined geographical location, the Artwork is printed either as a C-Type print on Fuji gloss paper or as a Giclee print on Hahnemuhle Photo Rag paper. (For humid countries e.g Singapore, C-type Fuji paper is advised as it is less impervious to moisture and mould)

All Prints are made at the most accredited and reputable Printing studios in London, Singapore or New Delhi, using the best quality fine art archival paper available.

The studio meticulously keeps account of each numbered print, including when and who it was sold to, so there is no chance of duplication. Each Fine Art Paper Print comes in an edition of 50, so for the three sizes, the total prints ever made will be 150. Each metal print comes in 3 sizes; 10 editions each, making a total of 30. Each Acrylic print comes in an edition of 10. For each composition, there are up to ten Artists Proofs for colour and production quality checks. The total edition for each artwork is therefore 200.

Each Print is made to order. Please allow 10 days for delivery.

Our everyday, ordinary world, which is right around us and under our very noses is often our blind spot. It is this very world that is often sidestepped. As a POP Artist, Ketna is continually observing our POPULAR culture; the culture of everyday people….and this space is where most of her artistic translations take place.

In ‘Frisky Sin’, Ketna has patched together seemingly random portraits of Singapore streets; a shophouse with a van selling ‘Friskies’ cat food’, a barber’s chair, part of a shop sign in Geylang (where the artist used to go to often to buy the most weird and wonderful coloured vinyl from an eccentric Chinese ‘uncle’ for upholstering her POP furniture; now sadly closed down), the backdoor of a labour camp dwelling and a tamilian scribed street column in Little India. None of these photos have people in it, and yet we know the space is ‘occupied’; be it the driver of the van or the barber behind the chair.

This Artwork pays homage to the animate and inanimate aspects of street culture; the ‘object’ and the ‘occupier’. Individually, nothing is glorious, but knitted together, our streets are frozen music!

Having lived in many cultures, and not really belonging anywhere, I find the goings on in street life quite valuable - they offer us insights into the ordinary; the almost invisible - which often tell us more about community and society than the history books!

Streets are curated and re-curated in ‘live’ time, so for me, they are a sort of sociological installation manifesting right in-front of us.

Streets are like stage sets, and we - the users of streets the actors.

They represent the shades of grey; the pause in between words…