Through our individually unique sensory experiences, different scents weave a profound connection to our memories, serving as a potent trigger for memory formation and recollections. The scent of a childhood space, the fragrance of a home-cooked meal, or the unmistakable aroma of a medical ointment—all contribute to the formation of an olfactory map that guides us through the landscape of our memories.

This project aims to explore this nuanced relationship between olfaction and memory, within the walls of my grandmother’s house.

No Man’s Land is a visual commentary of how masculinity is experienced, performed, coded and socially constructed. It explores narratives and their associating nuances through the unconventional lenses of gay men, underlining adversarial relationships developed with masculinity. Navigating the patriarchal landscape, it discusses underlying social, cultural and ideological influences surrounding sexism and heterosexism. 

Adopting a whimsical visual language, No Man’s Land surveys representations and records of masculinity, into three outlandish stories, fostering an embrace of this complex yet beautiful construct.

‘Odyssey!’ serves as a commentary on the contradiction within Singaporean society,  a visual interpretation of the reality that our people experience . By capturing this current generation’s social landscape through 5 painting-like photographs, I seek to address the complexity of our society’s relationship with privilege, meritocracy and racial disparity within a post-pandemic world. 

to fill a void is to understand yearning is an exploration of the notion of being insatiable. The questioning of the achievability of contentment and whether one’s void can ever be filled. The reckoning of one’s worth. An unending search for gratification. To liberate the mind by analysing the body.

The installation invites viewers to an immersive experience – mirroring the motion of being spirited away, evoking a sense of wonder and introspection. 

And when the earth falls away, to finally witness, a sea of stars. 

In the End It’s Only Temporary is an exploration of the intersection between dream and lived experiences, examioning how reality shapes the landscapes of our dreams. It explores the blurred boundaries between these realms, where our dream persona may diverge from our waking selves, revealing our intrinsic fears and desires.  

This project uses photography as a medium to materialise dreams, in an effort to make our ideal self a reality. By bringing these fleeting dreams into tangible existence, it prompts us to confront both our fears and  vulnerabilities — which like a dream, can be only temporary.

An exploration of the dichotomy between solitude and interdependence, tracing the journey from a desire for isolation to a recognition of the profound need for human connection. Through observation of tides, the artist uses the natural phenomenon to symbolize the ebb and flow of relationships, highlighting the interconnectedness of individuals within the larger fabric of society. As the tides shift, so too do our perceptions of independence and reliance, ultimately revealing the intrinsic bond that binds people together.

How to Disappear is a photographic exploration that reflects the disappearing queer community in Singapore, a contemplation of how queer individuals navigate their identity in a conservative society. By merging modern image making and traditional photographic processes, How to Disappear takes on the impossible task of capturing a disappearance. This work serves as evidence to the community’s existence, fighting for a more inclusive society that embraces diversity, even if we remain unseen.

A still small voice charts the artist’s attempts at finding herself and her own voice, far removed from her family while on exchange in London. Having been silenced for so long due to familial circumstances, she does not know who she is, what she wants to do in life nor how to live. Neither is she cognisant of her hopes and dreams. It documents her attempt at trying to find and regain her agency, and her will to live, after having battled depression and anxiety for close to a quarter of her life; to look beyond her predicament.

 A story of hope, the artist uses photography and confessional poetry as an impetus and a means for her to hold on to life, to press through and to make sense of the perennial dark haze that engulfs yet, strangely, never fully consumes.

Words under the Sun catches a glimpse into the narratives of diverse individuals as they contemplate their idea of God. Each perception of God is its own lived reality, shared organically without pretense and striving. Finding that same vulnerability in nature, this work visually ruminates on the words shared with the artist as she continues to question, seek, and trust, holding space for viewers to listen and perceive.

I think holding you near the kitchen light wouldn’t be so bad is an exploration of how human intimacy can be visually located in object language. 

Through quiet searches of love within object to object relations, romantic ‘sculptures’ are identified within everyday spaces and close readings of the inanimate are formed. This work posits how objects, when recontextualised and stripped of their technical functions, could potentially inhabit signs of human likeness, and as a result represent a radical, liberated model of love in how they relate to one another.

By incorporating Singapore’s varied landscapes—Urban, Residential, Industrial, and Natural—this project revolutionizes automotive photography. Departing from conventional approaches, it authentically captures the city’s vibrant automotive culture. Each car’s individuality is showcased against the dynamic backdrop of Singapore’s urban and natural scenery, offering a unique glimpse into the intersection of automotive artistry and the rich tapestry of life in the city-state.

Girlhood Studies is a visual commentary addressing the complexities and experiences of growing up as a girl in modern day. Drawing parallels between childhood, adolescence and adult female activities, this work seeks to redefine girlhood by spotlighting displaced memories, and reclaiming girlhood through the medium of photography.

It aims to capture the essence of girlhood, conveying the message of how every moment as a girl builds upon itself, creating a sanctity of love and support.

…and someone cared enough about me in this world to take my picture is a curious attempt to reconnect with the younger self. The project makes use of archival photographs that represent memories of which the artist possesses but has close to no recollection of, revealing the fragility of memories while questioning its reality. Contemplating the “loss” of memory in our “infinite” memory storage, the detachment and disconnect is visually represented through physically manipulation of photographs, which highlights the malleability of perceptions on the memories that we hold dear to our heart.