Hell’s Bride is an experimental stop-motion animation that hopes to hand to you an abstract history behind the little-known Chinese custom called Ghost Wedding or 冥婚 [mínghūn]. With the marriage of paper props, sinister puppets and a beautiful bride, the stage for an uncanny wedding is set.
The overarching question that guided the creation of Hell’s Bride was, “How do I explain my understanding of Chinese ghost weddings to somebody who has no clue about Chinese culture?” At the heart of it all, my project reflects my abstract understanding and relationship with Chinese culture. As a Chinese who lives in a predominantly Chinese society that has been heavily influenced by Western culture and language, it is a first step towards rediscovering traditional Chinese customs and even parts of the language that has been lost to me and others who live in Singapore.
Memory Dispensing Machine explores the connection between experience and play. Using the vending machine as an avenue to create a marriage between consumer goods and education, bringing together people of all ages, pathing a way for strangers to connect over experiences.
With the use of glass bottles as a vessel to communicate significant events in history, the selected topic will be superimposed onto the bottle. This series features how worldwide events between the 1950s and 60s impacted and shaped Singapore’s social and cultural landscape. By exploring a new way of perceiving unorthodox education mediums – people can now get a glimpse into our local history with this project.
Our modern struggle with accelerated time and rapid progress prompted a global wave of nostalgia. As a response to the fear and uncertainty of the future, nostalgia has been adopted as an individual instrument of survival and a countercultural practice. Contemporary nostalgia serves as a defense mechanism against time, providing us with comfort and allowing us to critically reflect about the present and future. However, our nostalgic tendency to romanticise the past is problematic as it neglects historical facts and realities.
Conceived as a theme park, Kampung Dreamworld questions contemporary nostalgia in the context of Singapore and re-examines its purpose in today’s constantly shifting world. By bringing to light forgotten histories in a satirical manner, Kampung Dreamworld serves as a form of escapist entertainment with a very real-world sting at its core.
Singapore is one of Asia’s great success stories where it transformed from a third to first world country. As Singapore continues to develop, it is inevitable that each new generation let go of the past and chooses to retain the history relevant to them. The art installation is developed based on the objective to promote and create an understanding of the history of The Singapore River among the younger generations through a unique visual experience. The art installation is designed in-sync with the outdoor of The Shoppes at Marina Bay Sands. Frame Art Installation is designed with the philosophy of standing at the present and looking back into the past, which is the location of The Singapore River.
Frame Art Installation portrays an optical illusion of 3D movement of graphical illustrations on transparent material objects that explain the stories of The Singapore River. The subjects of the Frame Art Installation revolves around the stories of The Clifford Pier, The Fullerton Hotel Lighthouse in relation with “TongKang” and “Twakow”, The Merlion and lastly, imagining the past of “TongKang” and “Twakow” in present day with The Singapore River The composition of the frames is with reference to a human’s hand. It serves as a reminder to the audience that the past activities of The Singapore River contribute to the success of present Singapore. Furthermore, it illustrates the correlation and importance of history as they serve important lessons for us to learn and remember our vulnerabilities to achieve greater success.
Frame Art Installation portrays an optical illusion of 3D movement of graphical illustrations on transparent material objects that explain the stories of The Singapore River. Each subject story is portrayed using 3 frames. There are a total of 12 frames and are the composition is with reference to a human’s hand. The ‘thumb’ is represented by the viewer as the present, while the ‘fingers’ are represented by the 4 frames of the past. This illustrates the correlation and importance of history as they serve as important lessons for us to learn and remember our vulnerabilities to achieve greater success.
