“Anotherplace” is a collection of visually believable landscapes and spaces that seeks to draw the viewer into their own experiences of what is being viewed. The project hopes to invite one to reconsider the truthfulness of the representations and to offer a reminder in which we are increasingly putting control and desire to what we choose to see and believe.
Some Pictures of Representation begins with an observation of the mechanical reproduction and fabrication of nature imagery on temporary public structures in Singapore. It seeks to understand the ways in which nature is represented and allowed to exist as simulacra in the world of human constructs. In studying nature in two-dimensional forms, it invites contemplation on our human nature to create controlled realities and how it affects our interaction with what we perceive as ‘natural’.
Paper effigies are facsimiles of everyday items constructed out of paper. Sacrificed through burning, they transcend the living world to provide material comfort for the deceased in their afterlife. This traditional custom is practised by many Chinese communities to venerate their ancestors and it is an act of remembrance that holds value for both the deceased and the living. “明冥之中 (To: The Other World)” relates to the intrinsic significance of the age-old custom to re-introduce and re-present it. This series is at once an imagination of the afterlife; and an appreciation of the custom.
The Abeyant Nursery is a collection of multi-disciplinary artworks that confronts my loss of personal identity due to various traumatic experiences from my childhood. The ethnographic research and experiments conducted aim to bridge the gap between my inner psyche and external influences. Through the act of art-making, I hope to reconcile and recover my autonomy.
Time stops for no one and death comes for everyone.
Finitude (Numbered.) is an installation that seeks discomfort and contemplation in the limited time and choices we have. Are we truly free?