The Artist
ArunDitha
Poet, sound-maker and movement artist
“I call myself a Shapeshifter and a Gap-Bridgr because I enjoy shifting forms—whether through the skin I inhabit or the mediums I use for creative expression. Currently, I’m focused on my solo sound and avatar project, Puremaisurii, exploring the point where words dissolve into noise or chaotic energy, a process of purification that also informs my work as a healing practitioner. I began as a theatre performer in my teens and later became a spoken word poet over 15 years ago. While I’m still recognised as a poet, my practice has grown increasingly non-linear over time.”
The Work in Motion
“I’m presenting my final residency work, An Archipelagic Aeon, at the National Gallery Singapore’s Padang Atrium on 10 and 11 January. The piece brings together 10 months of development with a close-knit team of collaborators. In 2026, I’ll focus on Puremaisurii, developing its sound and a new manuscript designed to be read like a film, alongside deepening my teaching practice, Pure Voice.”
The Uniform
“In 2016, I started seeing visions of a simple tribal line tattoo on my neck. At the time, it felt like an initiation into the irreversibly marginalised and I hesitated—but eventually got it, not realising it would start a long journey of tattoos. This year, I got a face tattoo. The necklace I’m wearing is a Kuchi tribal piece I bought secondhand online. Its leaf motif resonates with me, echoing the energy of my tribal neck tattoo.
The black dress is from Nina, who runs a store on Koh Lanta, a second home for me. The red kimono comes from a sister Elif’s label, Wear Roro, bought at the Garbicz music festival in Poland, where my band Mantravine played. Every piece I wear carries rich memories and good vibes.”
“I see myself as a kind of art object—a divine interface. Clothing is a magical practice for me.”
The Ritual
“On my 37th birthday, I set an intention: this year, when I look in the mirror, I want to like what I see—and if I don’t, I’ll adjust with accessories, make-up or clothing. Not to ‘fix’ myself, but to fully inhabit the cosmic container of my body. The 27-year-old me would have bristled at this, but now I see myself as a kind of art object—a divine interface. When my inner and outer worlds align, the interface functions at its best. Clothing is a magical practice for me, though in my universe, most things are.”
Photography Kim Jae-Ha
Styling Nicholas See
Hair and make-up Sarah Tan
Photographer’s assistants Zilhanz and Syed Abdullah
Hair and make-up assistant Janine Toh
Vogue Singapore’s January/February ‘Art’ issue is out on newsstands and available to order online now.
