7 elements
The elements appear here as processes rather than substance — metaphors for the ways we are altered by experience, encounter and time. Looking back, these works contain the earliest traces of questions that continue to occupy my practice: How change takes hold, how meaning accumulates, and how identity is continually remade.



UV-resistant ink on archival bamboo paper & chalk, 80 x 80cm, signed & numbered ed. of 6

earth #2 (2012)
UV-resistant ink on archival bamboo paper & Swarovski
crystals, 80 x 80cm, signed & numbered ed. of 6

UV-resistant ink on archival bamboo paper & 23k gold leaf, 80 x 80cm, signed & numbered ed. of 6

cloud (2013)
UV-resistant ink on archival bamboo paper & iridescent
varnish, 80 x 80cm, signed & numbered ed. of 6
topographies of loss
These works emerged from an attempt to hold memory still. In the act of preserving it, I discovered that recollection is already a form of fiction — revised with each retelling. The series marks the beginning of an ongoing inquiry into self-mythology: How experience becomes narrative, and narrative becomes reality.



lost in the infinite playing field of eros (2014)
UV-resistant ink on clear acrylic & archival
photopaper, 80 x 80cm

frozen on the tundra of fear & folly (2014)
UV-resistant ink on clear acrylic & archival
photopaper, 80 x 80cm

through the dark glass of duplicity’s wonderland (2014)
UV-resistant ink on clear acrylic & archival
photopaper, 80 x 80cm

hyperspace of the magus twisted upon itself (2014)
UV-resistant ink on clear acrylic & archival
photopaper, 80 x 80cm

UV-resistant ink on clear acrylic & dichroic film, 240 x 80cm. Photo credit for image comparison night shot: Jeannie Ho
naming the bright & dark stars
If Topographies of Loss examined the stories memory leaves behind, this set of work asks what happens when myth is constructed consciously rather than inherited. Here, personal history becomes material for revision. The self is no longer merely remembered, but rewritten.

UV-resistant ink on clear acrylic & dichroic film, 80 x 80cm

UV-resistant ink on clear acrylic & dichroic film, 80 x 80cm

UV-resistant ink on clear acrylic & dichroic film, 80 x 80cm

UV-resistant ink on clear acrylic & dichroic film, 80 x 80cm

UV-resistant ink on clear acrylic & archival photopaper, 80 x 80cm

UV-resistant ink on clear acrylic & archival photopaper, 80 x 80cm

UV-resistant ink on clear acrylic & archival photopaper, 80 x 80cm

UV-resistant ink on clear acrylic & archival photopaper, 80 x 80cm

gone gods, deep museum (2015)
UV-resistant ink on clear acrylic & gold arcylic mirror, 60 x 90cm
elsewhere, a negative mirror (2015)
UV-resistant ink on clear acrylic & moire optical film, 60 x 90cm
the city & the city
The inquiry widens from the individual to the collective during my time at the New York Artist Residency & Studio Program. Taking the city as both place and idea, these works explore how places sustain themselves through stories as much as infrastructure. New York becomes a mythic instrument: A site where memory, aspiration and historical revision converge.

Image: Duratrans film on LED lightbox, 50.8 x 40.6cm; Text: Digital print on transparency & moire optical film, 50.8 x 40.6cm, numbered ed. of 3

Image: Duratrans film on LED lightbox, 50.8 x 40.6cm; Text: Digital print on transparency & moire optical film, 50.8 x 40.6cm, numbered ed. of 3

Image: Duratrans film on LED lightbox, 50.8 x 40.6cm; Text: Digital print on transparency & moire optical film, 50.8 x 40.6cm, numbered ed. of 3

Image: Duratrans film on LED lightbox, 50.8 x 40.6cm; Text: Digital print on transparency & moire optical film, 50.8 x 40.6cm, numbered ed. of 3

Image: Duratrans film on LED lightbox, 50.8 x 40.6cm; Text: Digital print on transparency & moire optical film, 50.8 x 40.6cm, numbered ed. of 3

twilight states
The scale shifts again. Having explored the mythologies of the self and the city, this series turns to those that shape a wider sense of collective identity. Set in an alternate near-future, the works examine how narratives of survival, destiny and belonging endure beyond the conditions that produced them — and how they continue to shape the worlds we imagine into being.

Reclaimed African mahogany, granite, sedimentary rock, batik, extreme cold weather attire, steel wire suspension, kris, polyamide cord, pencil text on blue-pea infused rice paper, dimensions variable

Chromaluxe dye-sublimation print on gloss white aluminium, 84.1 x 59.4cm

Duratrans on powdered-coated aluminium LED lightbox, 85 x 65 x 5cm

Chromaluxe dye-sublimation print on gloss white aluminium, 90 x 60cm

Chromaluxe dye-sublimation print on gloss white aluminium, 84.1 x59.4cm

UV-resistent ink on clear acrylic & Ilford photopaper & oil pastel, 90 x 90cm

Chromaluxe dye-sublimation print on gloss white aluminium, 84.1x 84.lcm

Chromaluxe dye-sublimation print on gloss white aluminium, 84.1 x 59.4cm

Duratrans on powdered-coated aluminium LED lightbox, 60 x 40 x 5cm

Chromaluxe dye-sublimation print on gloss white aluminium, 50 x38.2cm

UV-resistent ink on clear acrylic & Ilford photopaper & oil pastel, 40 x 55cm

Duratrans on powdered-coated aluminium LED lightbox, 90x 60 x5cm

UV-resistent ink on clear acrylic & Ilford photopaper, 40 x 55cm

Chromaluxe dye-sublimation print on gloss white aluminium, 50 x38.2cm

Chromaluxe dye-sublimation print on gloss white aluminium, 50 x38.2cm

UV-resistent ink on clear acrylic & Ilford photopaper & oil pastel, 240 × 120cm

Chromaluxe dye-sublimation print on gloss white aluminium, 120 x 80cm

UV-resistent ink on clear acrylic, Chromaluxe dye-sublimation print on gloss white aluminium, oil pastel & polyamide cord, 270 x90cm
new flesh
My inquiry arrives at hybridity. Through mutations, literal and symbolic, these works examine how myths, identities and cultures are reshaped by changing conditions. Where earlier bodies of work focused on the construction of myths, New Flesh considers their evolution and the forms that emerge.

Vinyl adhesive on drywall, 630 x 400cm. The Foot Beneath The Flower, ADM Gallery, Nanyang Technological University, Curator: Louis Ho

Cotton sarong fabric, double-pass UV print on rigid PVC film, cotton & polyester thread, 60 x 75.7cm
stygian suite
In parallel to the other works, the projects, installations and interventions that form the Stygian Suite examine the unstable foundations upon which myths are built: memory, time and place. These works are concerned with slippages between past and present, presence and absence, physical and imagined space, asking what of our certainties remain when the frameworks we use to orient ourselves are ever-shifting.

Curatorial project across a physical gallery & 5 virtual sites. Singapore Art Week 2021 Commission.

3-channel video, dimensions variable. Photo credit: Ivan Tan

Inkjet print on rice paper & clear acetate, paint swatches, masking tape, QR code links to mixtapes, dimensions variable. Repurposing Nostalgia, Curator: Yen Phang.

Paper & digital print on paper, dimensions variable. The Peony & The Raven, Curator: Yen Phang.

Rigid acrylic sheet, acrylic mirror, digital print on PVC film & adhesive, wall projection, found furniture, books, CDs, audio playlist on vintage Macbook, dimensions variable. Reality Override, Charles B Wang Center, Stony Brook University, Curator: Jinyoung Jin. Photo credit: Lin Sheng