Works are currently not framed.
Frames are available upon request.
Notes
The theme of 'Lost' has been an on-going project for me - lost identity, lost knowledge, lost spaces, lost as found, lost narratives, the forgotten/displacement/invisible as lost.
Some of my 'lost' projects include:
- Lost heritage ('The Lost Peranakan Re-imagined' -'Peranakan Whispers', 'Chukop', 'Ghost Embroidery', 'Light Conversation', 'Absent Bodies', 'Chinese But Not Chinese')
- Lost attention (on education, such as 'Pulling Grass', 'Breathing Space', nature-related works such as 'Secret Visibility', 'Transparent Voices', 'Ancient Equipoise', 'Expanding Stones', 'The Listener', collaborative projects such as 'Got Your Name Or Not', and 'Texting Red and Green').
- Lost spaces (The 'Sungei Market Art Project', developed by The Artists Company, and collaborative project such as the 'Terra Fermata' soil project ).
The Lost Peranakan Project focuses on 'lost', soon to be forgotten materials from the Peranakan community in the Southeast Asia.
Through practice-led methodology, I explored the ideas of absence, memories, and obsolescence as I reimagined and reinterpreted selected objects, with the hope to continue their legacies today's world. I believe that every object we create, own, or use, inevitably reflect aspects of human thoughts, desires and aspirations. It was interesting to see how some materials/ objects have resisted change, or have been modified and shaped by changing attitudes and beliefs over time, while others have faded or are silently fading into the background.
Notes
'Living On Paper'
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’.
Notes
Notes
'Far and Near of Things' is a part of a series exploring the act of close-looking from a distance.
Extreme close-up of seedheads blown-up dramatically, dominate the composition, revealing nuanced complexities of each entity. Yet in an instant, we are made aware of their distance from the position of our gaze. The irreconcilable phenomena, brought on by the visual tension of simultaneously encountering the seed heads up close and from afar, plays on human's biophilic propensity and the complex connections between being, time, and place.
Informed by the Chinese ink painting method of manoeuvring bulks of water over thin rice paper, and observation of vernal pools found in the woodland around the UK, I like my working process to be intuitive and organic. Heavy puddles of ink and pigments are first introduced onto the heavy paper where their residual marks guide the subsequent brushworks. This is one of my ongoing series where familiarity and contradictions of 'being' and 'place' play out.