ART & FILM
FILM WORKS
In This Last Light (2024)
Single-channel video with sound, 13M 30S
First shown at: NAFA’s 2024 BA(Hons) Fine Art Graduation Show
Memory is a landscape, and you find yourself traversing its moors, its cathedrals, its shores, time and again. In so many other universes, you wrote different stories of your life. In another universe, you did everything right. But this is the one you have. Ponder on the past, walk its roads. But come home. Come home to what you know, and to what loves you.
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What Cannot Be Said Will Be Wept (2024)
Single-channel video with sound, 9M 54S
First shown at: NAFA’s 2024 BA(Hons) Fine Art Graduation Show
The world whispers to those who will listen. A visitor comes back to sites littered with memories, knowing she may never truly return to the same place in the same way again. These are places she has loved and left, some shared with loved ones, and others, walked alone. The desire to walk these times and love them as before is haunted by the knowledge that time gives and takes away. These are memories that dance around other memories – ones too precious to be captured. She learns to embrace the futility of it all, and continues to yearn for what cannot be grasped.
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The Curse & Catharsis of A Copper Mind (2023)
Single-channel performance film
Costume elements used in film, 3 short character vignettes film
Collaborating artists: Koh Kai Ting, Cheryl Charli, Noyona Biswas, Seetharam Poorvaja, Ong Soo Nee
The rise of contemporary society has brought upon the fall of gods.This artwork is a collective exploration of the nature of our relationship/s with belief. Premised on observations of the dualities existing within contemporary culture seen in the close proximity of traditional religious practices and various juxtaposing contemporary phenomena such as consumerism and capitalism, this work posits our world as a strange place in a time of liminalities and contrasts, where the boundaries separating spiritual sanctity from urban blight are blurred. In liminal spaces whose vacancy parallels temples removed of spiritual or religious significance, this piece embodies a personal inner vacancy that twists worship into a dance of yearning. In this sanctified but shadowy place where the distance between where you are and what you long for gives rise to new desires and transactional modes of glorifying a god, the human heart surrenders and wills itself to do anything to bridge that distance and traverse the void. At the heart of contemporary culture is a timeless amalgamation of yearning: yearning disguised as worship manifesting in different forms, sometimes offered to archetypal gods of tradition – religious deities and ancestors – but increasingly so to gods of modernity – fortune, status, and consumerism. These are gods that we place at the far end of the horizon and find ourselves drawing an unfollowable map towards finding. These are gods whose presence is made manifest by the very acts of worship offered to them by the street’s vendors, tourists, frequenters, and inhabitants. Our world today is a place where gods are made and homed in transient sites where worship turns transaction and genuinity falls into shadow. Amidst its frivolous facades, in the hearts of non-believers, skeptics, and people simply passing through, the places we know so well transition into a strange, liminal planes where true religion is rendered archaic – a place where gods go to die.
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OPEN STUDIO
AT STARCH.SG
SCIENCE + ENAMEL PAINT: A COLLECTION
(MUCH OLDER ART / 2020 - EARLY 2022)
