Workshop
Regarded as one of the leading print workshops globally, STPI supports the work of artists through collaboration and experimentation.
A note from our Workshop
Workshop Director
Oh Thiam Guan
At STPI, we see ourselves as collaborators rather than traditional printmakers or papermakers. Our workshop operates like an open kitchen: we have our standard menu of techniques and equipment, but we are always ready to adapt and experiment. Whether a work on paper or something entirely unexpected, our focus is on problem-solving alongside the artists to bring their vision to life.
The workshop team is central to this collaboration. Each member has their own skills, personality and approach, making every project a unique negotiation between artist and workshop. Over two decades of collective experience allow us to meet the unexpected.
The workshop occupies generous floor space where traditional presses sit alongside modern machines like our CNC router, allowing multiple projects and experiments to happen simultaneously—an environment many artists describe as a laboratory. On-site apartments also allow artists to live and work with us, creating time and space away from daily routines. They are able to focus fully on their practice, often bringing new perspectives and inspirations directly into their work.
Ultimately, STPI’s workshop is a place where ideas, materials and techniques intersect, and where collaboration drives new possibilities. Every artwork we produce reflects shared explorations, a process that is as much about the journey as it is about the outcome.
Now in residence
Christian Marclay
Christian Marclay (b. 1955, San Rafael, United States, based in London, United Kingdom) examines the complex relationships between image and sound, as well as how merging these systems of information can produce new sensibilities, structures and connections in a media-saturated world. He employs the framework of sampling, a technique commonly used in music, on both visual and aural found materials. Fragments from LP records and cassette tapes, to comics and movies, are combined in unexpected ways. Since the 1970s, his approach to sound from the perspective of a visual artist has led to his recognition as a pioneering figure in the avant-garde music scene.
Marclay’s early experimentations with sound and art began with novel turntable performances, leading to projects like Recycled Records (1980–86) where thrifted vinyl records were cut and reassembled to produce fragmented rhythms and tones. Since then, his practice has expanded to include video, collage, photography and installation. The Clock (2010), for which he received the Golden Lion award at the 54th Venice Biennale, is a 24-hour montage composed from a century of film and television clips that depicts symbols of time. Synchronised to display each passing minute in the local time zone, the work is a functioning timepiece as well as a journey through cinematic history, collapsing the experience of real time with the illusory sense of fictional time.
The artist obtained his BFA from the Massachusetts College of Art, Boston in 1980. His work is in major collections including Art Gallery of New South Wales, Sydney; Centre Pompidou, Paris; Hirshhorn Museum and Sculpture Garden, Washington DC; Kunsthaus Zürich; Kunstmuseum, Basel; Leeum, Samsung Museum of Art, Seoul; Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; Museum of Contemporary Art, Tokyo; Museum of Modern Art, New York; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Tate, London; Walker Art Center, Minneapolis; and Whitney Museum of American Art, New York.
Notable solo exhibitions include The Clock (2025), National Gallery of Iceland, Reykjavik; The Clock (2025), Kunstmuseum Stuttgart; The Clock (2024), Museum of Modern Art, New York; Christian Marclay (2022), Centre Pompidou, Paris; Christian Marclay Translating (2021), Museum of Contemporary Art, Tokyo; To Be Continued (2020), Museum of Modern and Contemporary Art, Geneva; The Clock (2019), Australian Centre for the Moving Image, Melbourne; Compositions (2019), Museu d’Art Contemporani de Barcelona, Spain; Sound Stories (2019), Los Angeles County Museum of Art, Los Angeles; and The Clock (2018), Tate Modern, London. The artist has also participated in major international festivals including May You Live In Interesting Times (2019), 58th Venice Biennale; IllumiNATIONS (2011), 54th Venice Biennale; Tout le Temps (2000), 2nd La Biennale de Montréal; Man + Space (2000), 3rd Gwangju Biennale; dAPERTutto (1999), 48th Venice Biennale; Identity and Alterity (1995), 46th Venice Biennale.
Marclay had his residency at the STPI Workshop in 2025.
Past Residencies
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