RAYMOND TAN

A piece of…

Breaking away from the conventional notion of cakes as purely edible treats, this exhibition pushes the boundaries of creativity and challenges the traditional definition of sculpture. Displaying daring cakes designed not to be devoured but to be viewed (and collected) as magical, and innovative works of art.

Raymond Tan’s story begins in Selangor, where he spent his formative years before relocating to Australia in 2006 to pursue higher education.

While completing a Master’s degree in Accounting, Tan discovered baking as a creative outlet.

His inventive bakes, including whimsical cake pops, intricately decorated fortune cookies, and stunning celebration cakes, quickly gained attention on Instagram.

Tan’s cake pops, featuring designs such as cacti, drippy watermelon, iconic landmarks and figures such as Anna Wintour and Karl Lagerfeld, became an internet sensation.

His work was featured in Vogue, reposted by the Museum of Modern Art (MOMA) in New York and highlighted in numerous other prestigious publications.

In 2019, following Melbourne’s first Covid lockdown, Tan founded Raya, a bakery on Little Collins Street, that has quickly become a beloved spot for locals and visitors alike. Raya is celebrated for its innovative cakes, which blend traditional techniques with contemporary twists, reflecting Tan’s artistic flair and global inspirations.

Raymond Tan’s journey from self-taught baker to a globally recognized culinary artist is a testament to his passion and creativity. Raya Bakery embodies his commitment to pushing the boundaries of baking and offering customers an extraordinary experience with every bite.

A piece of … begins a new chapter in his story.

AFTERGLOW

I have always been interested in biology – cellular and bulbous forms and plants, especially flowers. In this new body of work, I am returning to the flower-form in continuing my lifelong exploration of magnifying things to the point of monstrosity. It follows from my previous bodies of works, ‘Colony’ and then ‘Colonies’ but unlike them, the forms here are no longer microbes from a hidden world brought to light.

‘AFTERGLOW’ implies a lasting effect, a continuation of a kind of light, positive energy, or pleasant feeling after the triggering event or initial stimulus has passed. Here, the event has ended, and the species that survived are settling down and settling in. The bulbous forms are a gathering of ambiguous flowering bodies with giant sexual reproductive organs like ovaries, pistils, and stamens that look like swollen, sexually aroused, blood-filled organs. They have protrusions to store food and water for nourishment, growth, and use during leaner times. They are evolving and adapting to continue to thrive.

I have always been drawn to bright and bold colours in making works. And flowers have evolved vivid colours to attract pollinators and seed dispersers that aid the plant’s reproductive success. So, the works here are colourful and playful. And yet they look otherworldly and unknown. I am thinking about adaptation to an unknown future given today’s context. ‘AFTERGLOW’ is my take on apocalyptic sci-fi works like ‘The Day of the Triffids’.

— Christopher Langton, 2024