Made in 2018
100cm x 250cm
Photographic Composites
Treating digital imaging with a painterly approach, these works are abstract "impressions" of water created by the digital scans of everyday banal objects. The objects are dragged across the scanning bed, recording not only the mark of the creator's hand, but also digital errors. The collision of all these elements, creates a new type of "painting"; one that embodies technology, sentiments and errors made both by man and technology.
Made in 2018
100cm x 250cm
Photographic Composites
Treating digital imaging with a painterly approach, these works are abstract "impressions" of water created by the digital scans of everyday banal objects. The objects are dragged across the scanning bed, recording not only the mark of the creator's hand, but also digital errors. The collision of all these elements, creates a new type of "painting"; one that embodies technology, sentiments and errors made both by man and technology.
Made in the year 2012
Archival Photographic Composite Prints
150 cm x 150 cm
Collecting various images of tissue paper packets, the work is created digitally by composing the images of tissue paper packets together. A multiracial society, Singapore’s 3 main races are Chinese, Malay and Indian. Each of the races are represented by a distinct cultural object; a vase, elephant lamp stand, and the wau kite. Yet, a form of “low” culture connects Singaporeans together; it is the act of “choping” or reserving seats using a banal object - the tissue paper packet.
Made in the year 2012
Photographic composite
150cm x 120cm
Spaces in Singapore seems to always disappear quickly, to make space for newer and better developments. Growing up here, I have found nostalgia to be even more compelling, due to the fast disappearance of structures and buildings. The work that you see here is composed of digital scans of various objects relating to my childhood. Are they remnants of my memory?
Made in the year 2012
Photographic composite
150cm x 120cm
Spaces in Singapore seems to always disappear quickly, to make space for newer and better developments. Growing up here, I have found nostalgia to be even more compelling, due to the fast disappearance of structures and buildings. The work that you see here is composed of digital scans of various objects relating to the space I’ve spent so much time in; the hawker centres in Singapore. Are they remnants of my memory?
Made in the year 2016
Photographic composite
42 x 59cm
Growing up in Singapore, I’ve visited shopping malls more than I have to the park. Lacking in natural resources, we have no large expanse of land, nor breathtaking natural landforms that reminds me of “nature”. On the contrary, “nature” feels like the rows of endless consumables found in a supermarket.
Made in 2014
120 cm x 150cm
Photographic Composite
Throughout history, monuments have denoted man’s display of power. They represent heightened dreams, and perhaps even godliness in which a few believed they held power to. Such loftiness has intrigued the artist in perceiving a view literally from the top of the world. Ironically, it was through technology that she found such ‘monumental power’ again. Taking upon satellite images obtained from google maps as a point of study, the elated freedom and power of being on the top is exemplified. Nonetheless, the artist hopes to remind, of the need to look back down, upon the ordinary, mundane and insignificant.
The images are made of digital scans of mundane objects (towels, sponges, socks etc.)
Made in 2014
120 cm x 120cm
Photographic Composites
The composites are made up of various ordinary everyday objects, that have been dragged across the scanning bed, creating a painterly effect through the object. The artist chose to focus on the architectural outlook of Singapore as a sign of its achievements and progression. Though symbols of a capitalistic outcome focused on the symbol of money, the artist ironically feels attached to them. It is recognition and a reflection of a changed ‘nature’ found within the individual, through the changing environment.
“ Objects are neither a flora nor a fauna. And yet they do indeed give the impression of proliferating vegetation...“ — Jean Baudrillard.
The artist views the conditions of the Singapore society as one that is enveloped within consumerism and unnaturalness. It is a society that has learnt to overcome its natural odds, and embraced capitalism as a form of survival. Under such conditions, as which can be seen as well in other societies (perhaps only not as fervently obvious), the artificial or the unnatural has become a part and parcel of everyday living here in Singapore. The collection thus can be seen in two manifolds; one as the artist’s own obsession to ‘capture’, ‘contain’ and ‘remember’ her unnatural environment as a result of having grown up in Singapore, but also as a constant reminder to pledge towards such unchangeable facts, to constantly look towards the artificial with unyielding patience and love.
Made in the year 2013
Sculpture (made of rattan canes and a metal stand)
150cm x 90cm
A garden in a city, Singapore’s landscape and greenery is often found to be impeccably well-shaped.
Quisque nec faucibus metus. Praesent non consequat ante, sit amet pulvinar risus. Praesent eget lacus at tortor rhoncus condimentum. Morbi convallis tortor vulputate facilisis lacinia. Vestibulum orci sapien, congue id justo a, imperdiet gravida nisl. Aliquam erat volutpat. Vivamus eu congue ligula, in blandit nibh.
Made in 2013
90cm x 120cm
Photographic Composite
A systematic structure holds the 'image' of a typical form of housing found in Singapore ; the Housing Development Board housings (HDBs). The images are composed of numerous images of shoes, worn by the residents, which the artist collected throughout the island. The worn shoes represents a metaphor of a laborious journey and hard work. These values constantly resound within the results oriented society. On the other hand, they each represent a strong sense of individuality, understood through the designs and colours chosen. The HDB housings today, is a symbol to the economic success of Singapore. Such aspirations have become an important binding factor for the country's multicultural citizens. It is between the constant negotiations of a systematic structure and individualism that the culture of Singapore resides in.
Paranoia, 2013
Site specific, ready-made installation with raffia string
300 x 600 x 150
Collection of the Artist
Singapore Biennale 2013 Commission
"Paranoia" is a large-scale public installation that utilizes ordinary materials in creating a sensory experience that invites the public to be involved in. The raffia string, inter-weaved into empty pockets on the fence, creates the first visual barrier to the environment. The barrier; senseless and void of it's previous utilitarian function of protecting one's property, symbolizes the thought of separation between man. 'Property' is an important functioning engine within a capitalist economy. However one of the possible by-products of an over-emphasis would be a growing sense of 'Paranoia' between individuals.
The importance in breaking the barrier has been a constant struggle for any society that seeks to uplift and strengthen it's culture and ultimately create a more well-balanced society that is focused on happiness. The artist therefore chose to elevate the importance of 'ordinariness' in this work, in it's use of materials, to create a tactile connection to it's audience. The surprise, color and humor that the 'ordinariness' brings in this work, is meant to dilute the importance of 'property' with humility, and create the urgent connection between the common man, towards the common man.
