My practice is concerned with the experience of seeing and how forms are “read.” It is a method of thinking about abstraction and its relationship across cultural contexts. I am invested in the notion of visual literacy and employ collage as a strategy to shift meanings and associations.

 

The target and the cut are two motifs I have engaged with across different series. In the Target Paintings (2019-2024), I explore themes of visibility, otherness, and desire, embedding stories from popular culture and social history. The body of work employs target papers used for firing practice as a collage material, alongside appropriated text, images, and objects. As a finishing gesture, the paintings are slashed using an angle grinder to expose the aluminium substrate. These cuts function as lines that guide the viewer’s eyes across the work, while suggesting violence associated with the gaze.

 

My recent projects evolve the meaning of the target and cut motifs through language and iconic pieces of media. Titled after Herman Melville’s novel, the Moby Dick series explores the metaphor of “white whale” as a goal or target someone obsesses over. While in 爹爹，我把骨肉还给您 (2023), I ruminated on the cut motif through Nezha’s suicide scene in the children’s animation Nezha Conquers the Dragon King (1979). My public art commission ‘DEEP CUTS’ (2025) plays with the idea of “deep cuts” as niche references that have dedicated followers.

 

Currently, I am developing projects that are site-responsive or guided by spatial logics. One example is Polychrome (2025-ongoing), a meditation on the meaning and effect of colour on architecture and sculptures. The series proposes interventions in public space to create new encounters and question what is “on the surface.” I am also researching how the interaction between painting and architecture creates a third layer of sensory experience and meaning.

 

My works have been presented in solo and group exhibitions in Singapore and internationally, at venues such as MAIIAM Contemporary Art Museum, Nanyang Technological University ADM Gallery, Institute of Contemporary Arts Singapore, S.E.A. Focus, and The Private Museum. I was a recipient of the Ngee Ann Kongsi scholarship and winner of the 2017 Cliftons Art Prize for Singapore. Recently, I was commissioned by Singapore Art Museum to create DEEP CUTS (2025) as part of their public art programme.

 

I have also received critical recognition for my curatorial endeavours. I was awarded an Honourable Mention (Curator) at the 2023 IMPART Art Prize, for the curatorial project ‘We’re Young Once’ (2022). In addition to my studio practice, I am also Editor at Art & Market (A&M), an online magazine focused on Southeast Asian art and its global connections.

 

I am represented by Ames Yavuz.