' I enjoyed the process of trying to dance the 'dance', and trying to control my 'footsteps' while moving my feet.'

' Seeing the body as a moving sculpture, 

trying to explore the limitation of the gesture 

and a different perspective of a body.' 

The Dance

Body Performance, 2016

 

The Keyboard 

wood and copper pipe, 90cm x 90cm x 15cm, 2016 

 

Noise Board 

wood, screw and nut, 22cm x 30cm, 2016 

 

Mouth Mask

acrylic perspex, screw and nut, 15cm x 12cm x 10cm, 2016 

 

The Octopus baby

copper, metal and acrylic perspex, 65cm x 15cm x 15cm, 2016 

 

The Glass and The Flute 

metal, wood, acrylic perspex, screw and nut, 50cm x 10cm, 2016 

metal, wood, acrylic perspex, screw and nut, 40cm x 14cm, 2016

The Chain

metal, 50cm, 2016 

Sound of Imagination

performance with six objects, 9 minutes, 2016 

' After the exploration in concrete poetry, I became aware of sound and action, sound and visual, and the responding of sound. I wonder what do sound represent and what do they visually look like.'

 

' I started to explore with different objects that secretly invent sound and act as performative objects. After experimenting with different materials and objects, the practise naturally leads its direction to 'musical objects.' 

The Performative Objects Selection

various, 2016

SG 一百  (the catalogue image)

single channel video, 11 minutes, 2015

SG 一百  (video clippings)

single channel video, 11 minutes, 2015

' SG 100 was created in the year of SG 50.

As the project title given as The Future Letter to Yourself,

I then narrated this story. In the year of celebrating Singapore 100, the artist Moyun Liang was been interviewed, and through her story, 'we' see the past of Singapore. '

' During the process of recording I enjoyed performing with two different personal characters. '

SG 100 

single channel video, 11 minutes, 2015

' I was interested in the materiality of ice and also experimenting the process of 'becoming'. '

' Combining two different types of materials, ice and strings, with the simple action, jumping. '

' The result surprised me that simple play can be powerful. '

Skipping Ice

Performance, 2016

 

Skipping Ice

Performance, 2014

 

Skipping Ice

Performance, 2014

 

Skipping Ice

Performance, 2014

 

Skipping Ice

Performance, 2014

 

Skipping Ice

Performance, 2014

 

Skipping Ice

Performance, 2014

 

Eraser Eraser

Performance, 2014

 

Eraser Eraser

Performance, 2014

 

Eraser Eraser

Performance, 2014

' During the developmental phase of Singapore, there were constructions sites everywhere. Buildings were demolished and being rebuilt. At that time there arises also, an interesting movement called 'Keeping Singapore Clean'. '

' In Singapore, I was told to apply permit if I wish to perform in the public sphere, therefore I chose erasers as my medium for this performance.'


' The action of erasing can be been seen as cleaning. So, I was erasing the sign by cleaning it. '

Eraser Eraser

performance,2014

One day, as you see from the images, I had my first wonderful dance with Guzheng.

The First Dance

performance, 2014

Milk Slave

single channel video, 39 minutes 45 seconds, 2014

' As the poisoned milk powder sprees the whole world and it also scares all the parents. I had the opportunity to buy 10 cans of milk powder each time I return to China for my relatives. '

' It was hilarious, as the relationship between me and my relatives were not good, however they started to treat me nice. '


' In this performance, the ice cubes were made from milk powder, and I was writing a poem. '

' A poem created during The Tree Kingdoms time in history of China by CaoZhi. It mocked the relationship between CaoZhi and his brother, CaoPi. I use this poem as a metaphor to describe poisoned milk power issue and the relationship of my relatives. '

 

煮豆燃豆萁

豆在釜中泣

本是同根生

相煎何太急

Milk Slave

single channel video, 39 minute 45 seconds, 2014

 

Fleeting

performance, 2014

 

Fleeting

performance, 2014

 

Fleeting

performance, 2014

' This performance was created in the remembrance of my grandfather who passed away when I was overseas. '

' I was sorrowful and I felt helpless of not being able to do anything for him. '


' I had the idea of sewing a mourning cloth for him. As I did not tie a knot at the end of the string, so the action goes on. '

' This describes the endless relationship between my grandfather and I, and my perpetual longing to see him again. '

Fleeting

performance, 2014

' This is my first solo exhibition at The Substation Gallery, Singapore. I chose to work with daily newspaper clippings left for me by my Father.'

' These clippings, mainly selected from Singapore Mandarin tabloid papers, they are not only a form implied care, but also a paternal form of pressure to conform to the norms and expectations of society. I created a serious of works in response to my father's gesture of affection and concern. '

三 缺 一 (English Translation: Three Without One)

Various, 2015

 

The Feeding

single channel still video, 5 minutes, 2015

 

The eating

single channel still video, 5 minutes, 2015

 

The feeding and The eating (Gallery view)

single channel still video, 5 minutes, 2015

 

My Glory with installed 'hair dryer' (Gallery view)

single channel still video, 8 minutes, 2015

hand dryer and wig, 2015

 

The Kaleidoscope (x4)

an interactive installation with single channel video, 6 minutes, 2015

 

The Kaleidoscope (x4) (the view into the kaleidoscope, gallery view)

an interactive installation with single channel video, 6 minutes, 2015