This project proposes the objectification of humans after death as an alternative to a more sustainable death industry in Singapore while respecting the sacredness of its rituals and processes. 

It embodies human identity and their greed with artefacts made with real human hair, creating intimacy between the deceased and their loved ones. 

The installation aims to provoke the audience into questioning the extreme utilitarian future we are headed towards should we continue the extreme consumption of resources while being nonchalant about future consequences.

Ofyto is a project combining biomonitoring technology and service design to monitor ozone pollution levels in Singapore. It aims to act as an early warning system for monitoring the levels of harmful pollution present in our air. Plants are highly sensitive to environmental pollution compared to human senses and artificial sensors. Through service design, introduce low-cost localized biomonitoring measures for ozone pollution. The goal is to promote better health and improve overall air quality in the environment.

Out of the Box is a play kit designed to enhance children’s play experiences. Focusing on fostering opportunities for children to interact and play with one another, in fun, creative and imaginative ways while promoting a harmonious blend of indoor and outdoor play.

In this project, I discover the art of dressing and undressing, transforming these everyday actions into experiences that can be effortlessly accomplished in a single motion. Exploring the creation of a fastening mechanism that is meticulously designed to secure garments with ease. The vision extends beyond mere functionality; it’s about crafting a collection where every piece seem to embody the essence of change just as the morphing of a butterfly.

Traditional paper cuttings are disappearing due to the pursuit of efficiency, convenience, and progress. We are losing our ties with these heritages and identities. 

We are the important vessels that hold the stories within. It signifies our identity, and this is what brings life to the paper cuts.  

This work presents the intertwined fate of Chinese paper cuts and our identity, depicting an onward-looking  future of Chinese paper cuts and our heritage shall there be efforts made.

In many Asian cultures, the pressures of ‘saving face’ and the stigma surrounding mental health often prevents many in need from seeking help for their mental health struggles, leading them to suffer alone in silence. 

This is an art installation that people can interact with. It aims to build empathy and spark open conversations about one’s mental well-being, which is a crucial step towards dismantling the barriers of shame and stigma against mental health issues. 

Each sculpture is designed to allow one to ‘enter’ into the mind of someone struggling, which challenges perceptions and highlights the shared human experience of mental health challenges. It encourages one to reflect on their mental well-being and empowers them to seek support in their journey through shared conversations of healing and understanding. 

Since the formation of the 1971 New Culture Policy, the Malaysian government has been promoting national integration through one national culture. The mixed-media installation, titled Menjadi Rimau, seeks to conceptualize Bangsa Malaysia in cultural terms and to offer a critical perspective on the nation’s cultural identity.

Composed from speculative artifacts, textiles and moving images, the installation proposes an alternative socio-political and cultural imagination where the tiger is presented as a supra-ethnic national identity. In this imagined space, the tiger ‘unified’ the people of the nation across their differences and their ‘lost origins’ caused by the history of enforced diasporas.

By re-examining a collective historical and mythological narrative, ‘Menjadi Rimau’ serves as an open dialogue on diaspora identities in Malaysia, prompting a reflection on our cultural belonging to Bangsa Malaysia. Between fiction and fact, the work hopes to dissect cultural pluralism as part of a colonial heritage, and to offer a critical and poetic exploration of post-colonial discourses, mythology and diasporas.

The Collection of Objects features an assemblage of handmade wooden objects and the original forms they were originally derived from.

It is an assertion that humans inherently classify things in a way they understand them, and this influences what we do.

Would a tree think of parts of its felled self as waste?

Does a tree consent to being transformed into these “things” we consider commodities?

Would the concepts of “things” even exist in a world without us?

‘GUTS & GRACE’ intricately dissects the anatomy of identity and selfhood. Each doll serves as a vessel embodying the essence of the self, revealing its true and fragmented nature. By weaving together elements of beauty and grotesquery, ‘GUTS & GRACE’ offers an uncanny and haunting portrayal of the self — a paradoxical fusion of allure and decay, where the veneer of beauty masks an underlying turmoil.

My works have always been a reflection of my personal experiences and inner psyche. Everything I create serves as a representation of a part of myself. I believe my heart is in here.