Medium-format film taken on Hasselblad
Having studied and lived in Providence, Rhode Island, for the past 4 years, I was interested in capturing the time and space that I observed around the city. I also made a trip to Swan Point Cemetery where many of the oldest families of Providence are buried, Americans who once lived in and walked on the streets of the rustic city.
Colour laserjet print
Catalogue for the RISD Museum's exhibition featuring alumni, Arlene Shechet's collaborative work with Meissen. The catalogue design was inspired by the recast element of the exhibition, whereby discarded pieces of Meissen porcelain was upcycled and re-processed to become exquisite sculptural works by Shechet. Most of the photography was shot using a Canon DSLR, and the main typefaces used were Antwerp paired with Avenir in order to embody the collision of old and new that was running through the exhibition.
Hello, My Name Is invites viewers to take a name sticker to label a face. Over time, the name accumulate, hiding the ethnic faces that emerged from the shadows. This installation has been staged in America and in Singapore.
Affirmative action, a policy that seeks to ensure equal opportunity for all in America, now faces contention that it promotes bias towards minority groups. In doing so, there is a loss of meritocracy and fair judgement, especially when college admissions are concerned – where access to education becomes one of the gateways to upward social mobility.
Triptych of 8" by 8" glossy prints
Mixed media photography
As part of a collaboration with Edward Seah, a medical student, we set out to explore the human anatomy with food and man-made materials. The triptych allowed us to find similarities in the organic forms of the human body and other materials.
Mixed media outdoor installation
Fond and curious of the red and white flags that appear once a year in Singapore, I set about creating 700 flags by hand. Many thanks to Edward Seah who helped with the creation and execution of this piece.
24" by 36" digital print
“I have wanted to kill myself a hundred times, but somehow I am still in love with life. This ridiculous weakness is perhaps one of our more stupid melancholy propensities, for is there anything more stupid than to be eager to go on carrying a burden which one would gladly throw away, to loathe one’s very being and yet to hold it fast, to fondle the snake that devours us until it has eaten our hearts away?”
— Voltaire, 'Candide: or, Optimism', first published in 1759
I sought to convey the spirit of unyielding optimism found at the heart of Leonard Bernstein’s Candide, the operetta of 1956.
Candide was featured in the Creation exhibition, held at the Singapore Art Museum in September 2013.
11” by 17”
I Belong Here Too (2014) reconfigures the house that I grew up in into a housing development board (HDB) block, an icon of the Singapore landscape. I have had conversations with a number of Singaporeans who feel strongly that living in a HDB classifies one as being a truer Singaporean than others. During the process of working with linoleum and mixing the inks for the national colours of Singapore, I was also contemplating on the growing tension back home due to income inequality and the scramble for Singaporeans to find an authentic national identity.
Mixed Media Video
A brief adaptation of the story of Bukit Merah (Malay for Redhill), a fable from Singapore.
46" by 46"
Oil on canvas
This painting was done in different orientations. The square format was meant to avoid creating a conventional landscape or portrait study.
Colour inkjet print on Classic Crest Natural White 80T
Carroll's beloved story of a girl with an overactive imagination and a never-ending stream of questions has brought readers tumbling down into Wonderland with her since its first publishing in 1865. This re-conceptualisation of Alice's ruminations in a fantastical land invite readers into her fragmentary consciousness of dreams and idle fantasy. Playing with dreams brings a revitalised look at Alice's Adventures in Wonderland.
Post-processed photography and vectors
This experimental typeface was created with Cathy Lee.
With the given prompt of portraiture as a basis for the human alphabet, we decided to widen our pool of faces to include our friends and colleagues. Their human faces became the architectural vocabulary of our human alphabet.
Facial expressions not only construct a human identity, but also contribute to a letterform’s personality as well. Integrating the human head as a part of the type’s building block also allowed us to tease a balance between organic, emotional and geometric forms.
In keeping with the legibility requirements of the letter, we intertwined the different faces and letterforms in ways that complemented each other in order to be read as a whole. In molding the forms together, two different types of relationships are forged: a symbiotic connection between different shapes as well as the linguistic bond that humans have and need for communication. By drawing from an international pool of people who speak different languages, the forming of a cohesive human alphabet also stressed the fundamental affinity we have as a species.
In addition to the complementary nature of the organic human faces and the geometric Grotesque typeface, we also investigated and discovered how much of a letterform and face needed to be shown in order to recognize either.
A new menu design for Sakura Restaurant in Providence, Rhode Island.
Triptych of 60" by 20" canvases
oil on canvas
Having received many religious materials from my parents over the years, 'From Mum & Dad' is an exploration of my relationship with religion and my parents. This painting was completed in 5 days, including time taken to stretch and prime the canvases.
Ink, water, perforated black paper, white glue
Studio-time spent exploring non-traditional drawing tools to create tonal/value studies from live figure models. I worked mainly with white glue, perforated black paper, powdered charcoal and indian ink. I executed the work mainly with a cork-on-paintbrush tool fixed with necklace beads, a spray bottle, sticky-foam ended toy bullets and my fingers.
umbo began as a challenge to conceptualise a brand identity from a natural object. Choosing a navel orange, preliminary brainstorming began with first sculpting the form of the object and understanding it from epicarp to core. The idea of a navel piercing company came soon after, a pun on the navel aspect of the orange. This carried through with the rest of the identity, from logotype to package design.
The final packaging also subtly introduced the Creation story by having Eve flaunt the cover - ironic since she would not have a navel. The colours of the final package were chosen in a bid to attract street culture youth. The name umbo, meaning central force, was essential to reinforcing the idea of a navel piercing company.
The video was projected onto a screen via two projectors side-by-side and was put on repeated playback.
'Working Women' contrasts the lives of 2 seemingly similar yet different women. The illusively titled video art was the final product of a year-long coursework titled 'Introspection' - and exploration of human emotions and feelings such as love, melancholy, sadness and confusion. There was no sound as part of the video installation so as to focus attention on the lives of the two women happening simultaneously.
One interesting thing I notice about people who viewed this artwork is how people found themselves focusing on either one of the characters, and not both as a whole - giving insight into one's own personal character and thought processes.