Born from  a particularly difficult time, this work reflects a period when I found solace in long walks and quiet places. Frequent visits to the coasts allowed me to immerse myself in the ceaseless, soothing white noise of the surroundings. There, I noticed soft carpets of grass, layered endlessly like felt, perhaps they kept the noise out. Back to my studio, I began working on ‘Living On Paper’. For several months, I layered Chinese ink and water-based mediums repetitively and relentlessly on paper to form excessively heavy foliage. Layers and layers of paint were constantly obliterated as time progresses, new growths emerged as old leaves faded into the background; new co-existing with the old, and life with death, a process which I consider to be reflexive, performative, and incredibly therapeutic. The durational registers now persist as an indexical record, and my brush works forming a wall of soothing, impenetrable white noise.

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​Other motifs came through during the process of painting,  like the hand-carved red seals with phrases (“listen”, “a strange world”, “continuous searching”), and title deriving from my emotive memory of the Kueh Genggang – the multi-layer steamed rice cake.

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