2018
© 2021 MC.
Cymatics Series
Light, Image & Sound 'sound in plain sight' (Data Sonification)
Year: 2022
Medium: Mixed Media Installation
Dimensions: Variable
Driven by the desire to translate sound into visual form, ‘sound in plain sight’ hopes to provide an insight into the unseen phenomenon between sensation and perception of light and sound. The light translates the sonic wave into patterns bringing our subconscious sensorial awareness to visibility. The entrancing patterns are fluid yet geometric taking forms in response to the orderly chaos of our world, extracting both objective reality and a sense of wonder from the mundane. Hence, it intends to invite one to take a moment and tune in and be in tune with the synergies between nature and technology in a fast-moving world.
Exhibition:
Light, Water & Sound 'underwater'
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'distracting, distracted, distractions', 47 Malan Rd, #01-24 Gillman Barracks, Singapore 2021
Year: 2022
Medium: Video
Duration: 4 minutes
Drowning out all the busy noises, 'underwater’ hopes to offer an interval for one to dive deep and under and flow with the currents. Water as a medium brings out both visceral and meditative qualities that are also reflective of our sensorial experience with unseen phenomena such as how we are receptive to sound. This relationship between sensation and perception of light and sound ultimately defines time, our identity, and our sentience quality.
Residency
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'Elevate', Digital Residency, Syntropy App, 2022
Light, Print & Sound 'Cyano-matics'
Year: 2022
Medium: Mixed Media Installation
Dimensions: Variable
'Cyano-matics' incorporates the cyanotype printing and cymatics method to translate the intangible experience to a tangible form, specifically voice into prints. The audience is invited to read and select a line of narrative/ comics drawn by underprivileged children. This concept attempts to have the children's stories heard by the public as a way to reconnect people on a personal level in an engaging yet casual manner. It also intends to provide a new dimensional perspective while promoting collaboration and education through artistic practices. Art that embraces the synergies between nature and technology in an ever-changing world during the pandemic.
Exhibition:
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'Embracing Science With Colors: A Pandemic Story', SCAPE #03-04, Singapore, 2022
Light, Water & Sound 'Time by Pink Floyd'
Year: 2022
Medium: Video
Duration: 6 minutes
'Suburbia'
Year: 2020
Medium: Site Specific Video Installation
Duration: 10 minutes
Traversing the influences of memory, biography and culture, "Suburbia" explores the artist's temporal displacement and the tension between the suburban and urban identities. Based on her recent citizenship renunciation and migration history, she seeks to recreate a familiar ambiance that chimed with the idea of homecoming while the city is chasing time. This figurative representation is inspired by Southern Thailand's traditional folk shadow puppetry, "Nang Talung". Both the traditional and the modern methods are fused to mirror the simultaneity of the ongoing urbanisation that gradually succeeds the rural culture with a generic identity. Therefore, the recurring imagery expresses the artist's "personal nostalgia" and perpetual loss for her ever-evolving hometown identity.
Exhibition:
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'FRAGMENTED IDENTITIES', THE ROOM & Palazzo Albrizzi-Capello, Venice, Italy 2021
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'MIXING IDENTITIES', THE LINE London, England 2021
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'tension', Virtual exhibition, Buwan Collective 2020
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'The grad expectations 2020', Online Gallery, Nanyang Academy of Fine Arts Singapore 2020
Press:
'My Dadaist Poem'
Year: 2019
Medium: Mixed Media
Dimensions: variable
My Dadaist Poem explores the artist's identity crisis in relation to her oath-taking and renunciation experience. In reference to "How to make a Dadaist Poem" by Tristan Tzara , the method was adopted to manipulate the texts. This method intends to evoke discomfort from the illiteracy as a way to express the act of self-censorship and uncertainty it brought about to the artist's identity. At the same time, it also aims to question plural citizenships as human rights and the notion of freedom in a democratic society; despite having a choice yet one is obliged to make one.
Exhibition:
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'Light & shadow', Renewal Christian Church, Singapore 2019
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The grad expectations 2019', Ngee Ann Kongsi Gallery, Nanyang Academy of Fine Arts Singapore 2018
Pubblication:
'_influenza' Series
Year: 2018
Medium: Mixed Media
Dimensions: variable
_Influenza addresses the ubiquity and pervasiveness of social media that has shaped our insights of the perfect lifestyle. In response to Consumer Rights Day on 15th March 2019, with the theme “Trusted Smart Products”, this exhibition questions the intents of industrialism through influencers. Putting their reliability on the pedestal.
The collaboration led by to emerging artists, Thanchanog Ho Mai Chin and Magdalene Tuh, has drawn an investigation on the desires of one self and the satirical execution of advertisements that entice consumers. These brands have employed marketing strategies through the increasing influence of social media, the overwhelming push notifications, and intrusive banner and pop-up advertising which quietly dominate the web-space. Hence, consumers are thrilled to be monopolized by the perpeptual infiltration of marketing messages, and corporates have created a façade, making the intent of the product unknown.
This exhibition uses art to examine the anonymity of the consumeristic world, and to encourage consumers to be more discerning before making purchases.
At the same time, the exhibition showcases the domination of social media and how it influences the decision-making process of the consumers, by drawing out their dreams, desires and trust in social media recommendations.
to consume or to be consumed– How will you determine your fate?
Exhibition:
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'_influenza',, Fine Art Showcase, Nanyang Academy of Fine Arts, Singapore 2019
'Ritual Consumption'
Year: 2018
Medium: Mixed Media
Dimensions: variable
Ritual Consumption rethinks consumerism from a viewpoint of religion with a satirical undertone. It articulates a pattern of behaviours connected to life experiences that influence what and how one may consume. These behaviours tend to possess symbolic connotations which insinuate a sacred inherent in consumer habits. One's loyalty to a particular brand functions psychologically comparable to one's sacred devotion to a religion where products are divinised with a degree of reverence and awe. One is ought to worship a higher being by willing to offer service and sacrifice in exchange for a sense of meaning and purpose. Similarly, in the dimension of consumerism, one sanctifies products in exchange for a sense of self-worth; a sense of momentary satisfaction. Hence, this work aims to draws upon query of the polarisation between secularisation of the sacred and a sacralisation of the secular.
Exhibition:
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'I exchange my time for satisfaction', Fine Art Showcase, Nanyang Academy of Fine Arts, Singapore 2019
'The Well Dressed & The Obsolete'
Year: 2018
Medium: Mixed Media
Dimensions: variable
In collaboration with Anuska Sakar, our concepts identify each other the intersection between a manifesto against materialism and an act of obliteration of the purpose of an object as a sacrifice over the outward aesthetic. The aspiration for detachment carry an undertone of scorn towards the dominant power of the tangible over the intangible.
Steering away from personal fixity, our conceptual motif is to credit the spiritual value and the idea which are lost to the physicial comfort and overlooked by the skill of creation.
'Untitled'
Year: 2018
Medium: Mixed Media
Dimensions: variable
