A 2D animated film set in a local art gallery, where a Victorian painting of a pair of twins has been a prominent attraction for decades. However, when one twin sister mysteriously disappears from the artwork, the other is then forced to leave the comfort of their painting and journey through the gallery to find her.
Clementine is meant to be an exploration of loss, embracing change and eventually coming into your own person. The film draws inspiration from various renown artists of different time periods and art styles to create a visually rich and dynamic narrative experience that pays homage to the diversity and innovation of artistic expression throughout history.
Michelle Kham
Producer & Art Director, Storyboard, Animation, Environment Design, Compositing
Wynne Yap Waiyi
Environment Design, Animation & Cleanup, Colour & Lighting Compositing
Lim Lai Ting
Environment Design, Animation, Colour & Lighting, Compositing & Video Editing
Missing the mountains in New Zealand, two young adults, Charlotte and Valerie, ride a cable car up Mount Faber hoping to find what they are looking for.
Ben Tan Kai Xiang
Co-director
Cheu Li Qing Grace
Co-director
“Terra: New Horizons” is a single player, third-person shooter action game set on Planet Terra. Join Kyra as she embarks on a discovery mission, facing off against the planet’s inhabitants while unraveling the mysteries surrounding Expedition 503.
Ryan Misson
3D Character Artist, Game Animator, Concept and Storyboard Artist, Lead Level Designer, Assistant Technical Artist
Koh Boon Xuan
Lead Environment Artist, Lead Technical Artist, Level Designer
Benjamin Lee Kuan Yong
Cinematic Animator, Cinematic Lighting Artist, 3D Artist
Should I Cut My Bangs? is an illustrated lifestyle magazine for indecisive people made by an indecisive person. Through this publication, we hope to inspire fellow indecisive people to embrace the uncertainties of day-to-day life!
A boy wakes up and finds himself in a place with strange and creepy taxidermy and tries to escape.
Cherlyn
Editor, Composite, Lighting, Background
Christy
Director, Storyboard, Animation, Background
Missing the mountains in New Zealand, two young adults, Charlotte and Valerie, ride a cable car up Mount Faber hoping to find what they are looking for.
Ben Tan Kai Xiang
Co-director
Cheu Li Qing Grace
Co-director
A young girl finds her body afflicted by a mysterious condition. Panicked, she races through different worlds searching for a diagnosis.
Tan Ning Xuan
Director, Story, Post-Production
Poh Liwen Meghan
Art Director, Lead Animator
Audrey Yong Jieyi
Puppet Fabrication, Rigging, Lighting
A nuanced 3D-animated film about communication, perception, and subtexts – dig past both ‘unreliable actors’, read into details, and solve the mystery of their familiarity.
By revisiting a personal experience of skidding on the PIE Expressway, we dissect the conventional SE-Asian generational model, confront the lack of verbal communication in our society and figure out the unspoken way we care for each other.
Wei Liea
Director, Producer, 3D Generalist
Joshua Chen
3D Generalist, Environmentalist
Fairy’s Gifts is a 3D animated film set in a fantasy world. The story revolves around a fairy who crafts medicine for fellow creatures in exchange for goods. Growing increasingly picky, she only accepts gold, rejecting common items like a blue seed and dismissing a humble fairy bear. However, when her main flower ingredient withers, everything changes.
Buckle down! This illustrated guide book offers the reader a glimpse into the world of folklore and hidden creatures, its concepts and written lore inspired by themes and motifs from South East Asia.
As part of his tribe’s rite of passage, a young hunter has to prove his worth by hunting down a great beast. However, amidst navigating the hunt and the rituals of his tribe, he finds himself increasingly troubled by what he has done. As he grapples with the gravity of his actions, he confronts his struggles with coming of age, self doubt, and reconciling one’s actions with one’s conscience.
Benjamin
Director, Storyboarder, Character Animator, Compositor
Yanzhi
Visdev (Beast), Beast Animator, Character Animator
Ryan
Visdev (Environment, Colourist), Background Artist, Fx Animator
Angelina
Producer, Visdev (Hunter), Character Animator, Clean-up
Freshly fired, Sampath is on his way home. Forcing an unbothered front, his commute is disrupted when his inner demon bursts out to taunt him. Sampath’s world turns upside down as his bottled emotions literally catch up to him. A chase ensues, forcing him to reflect on his life thus far. He must appease the shadow he hid away for so long, before he succumbs to its pain.
Su Thet Htar San (Atlas):
Ong Boon Huey:
Tay Min Kuan:
A young girl finds her body afflicted by a mysterious condition. Panicked, she races through different worlds searching for a diagnosis.
Tan Ning Xuan
Poh Liwen Meghan
Audrey Yong Jieyi
As part of his tribe’s rite of passage, a young hunter has to prove his worth by hunting down a great beast. However, amidst navigating the hunt and the rituals of his tribe, he finds himself increasingly troubled by what he has done. As he grapples with the gravity of his actions, he confronts his struggles with coming of age, self doubt, and reconciling one’s actions with one’s conscience.
Benjamin: Director, Storyboarder, Character Animator, Compositor
Yanzhi: Visdev (Beast), Beast Animator, Character Animator
Ryan: Visdev (Environment, Colourist), Background Artist, Fx Animator
Angelina: Producer, Visdev (Hunter), Character Animator, Clean-up
Freshly fired, Sampath is on his way home. Forcing an unbothered front, his commute is disrupted when his inner demon bursts out to taunt him. Sampath’s world turns upside down as his bottled emotions literally catch up to him. A chase ensues, forcing him to reflect on his life thus far. He must appease the shadow he hid away for so long, before he succumbs to its pain.
Su Thet Htar San (Atlas):
Ong Boon Huey:
Tay Min Kuan:
A stubborn angel refuses to accept the support from a helpful dog after a workplace mishap.
Vanessa Ng
Zechariah Teo
A girl longs to hit puberty and get big boobs only to grow tiny ones. Confronted with the judgment of others and herself, she struggles to accept her chest size.
Jaime: Director, Storyboarder, Animator, Background Artist, Compositor
Winona: Background Artist, Animator, Compositor, Producer
When young working mother Amelia is notified that her 3 month old son is underweight, she has to decide what’s best for her son while battling her own insecurities of motherhood.
When young working mom Amelia is notified that her 3 month old son is underweight, she has to decide what’s best for her son while battling her own insecurities as a mother.
Lifestyle influencer Evelyn Tan strives to expand her online following but encounters a social media crisis when a casual interaction with laid-back Ha during a live stream is misconstrued, prompting online backlash. Ha suggests beach cleanups as a resolution, resulting in a profitable partnership. Their journey to find “Blue Tears” brings challenges and ethical dilemmas, prompting Evelyn to appreciate stillness and a grasp on Ha’s carefree demeanour.
Whilst preparing for his church’s worship audition, a boy and his mother’s delicate relationship is tested when a repressed truth finally becomes inexcusable.
The Little Pariah is a film about teenage burgeoning sexuality, overt religious indoctrinations, and the lengths we go for the ones we love.
How often have you stood and waited for an elevator, wondering why it’s taking so long, why it’s moving so slow, and hey, why did it just pass your floor completely?
Going Up lets you control groups of lifts in a skyscraper, where you must efficiently deliver passengers before they lose their patience, with each stage bringing you further up the building.
Optimise elevator movement as you deal with a fussy cast of passengers—impatient CEOs, mean soldiers and confused tourists. There is no one solution to elevator optimisation: every stage will have its unique bottlenecks, passengers and problems. Can you keep people moving, or will they have to take the stairs?
“Terra: New Horizons” is a single player, third-person shooter action game set on Planet Terra. Join Kyra as she embarks on a discovery mission, facing off against the planet’s inhabitants while unraveling the mysteries surrounding Expedition 503.
Ryan Misson:
3D Character Artist, Game Animator, Concept and Storyboard Artist, Lead Level Designer, Assistant Technical Artist
Koh Boon Xuan:
Lead Environment Artist, Lead Technical Artist, Level Designer
Benjamin Lee Kuan Yong:
Cinematic Animator, Cinematic Lighting Artist, 3D Artist
swallow me (Again) is a time-based, multi-media installation that seeks to present an abstraction and exploration of the Mother Wound (the inter-generational pain passed between women in a line of inheritance) through the ritualization of physical motions in sculptural interaction.
The artwork presents a speculative emancipation ritual questioning the ideology of healing and its possibility in the context of something so innately present.
Perhaps the only way to end a cycle of trauma is to remove its latest vessel from the world.
Insomnia is a well-known, widespread sleeping disorder that creates difficulties in initiating sleep and achieving a refreshing rest without any disruptions.
But what truly unfolds during the nocturnal hours of someone dealing with insomnia? 𝘊𝘭𝘰𝘴𝘦 𝘠𝘰𝘶𝘳 𝘌𝘺𝘦𝘴 is an interactive installation that allows you to experience the complexity and layers of an individual’s journey with insomnia. This immersive experience invites viewers to take rest while encountering unsettling sounds and visuals. It is an invitation to observe the insomniac or 𝘉𝘦 the insomniac.
“Digital Soul & Data Metamorphosis” is an immersive and experimental new media art that documents the artist’s self-experiences, beliefs, and ideologies and examines the potential for human soul immortalisation and extension within the digital realm in the context of evolving artificial intelligence. The project raises the speculative hypothesis that the human soul, once limited to the physical realm, possesses the potential to not only thrive but also be measured, stored, generativity developed and immortalised in the virtual realm with the development of artificial intelligence and data processing.
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.
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.
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.
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.
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.
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.
This project, Moving Past Disgust, is created to help volunteers with higher levels of disgust sensitivity overcome their disgust in order to volunteer for events that deal with “disgusting” things. For example, cleaning dirty houses or sorting between edible and mushy vegetables. The aim is to help nonprofits retain volunteers. This can be done via methods like habituation, like when nurses get used to dealing with bodily fluids, or using empathy to combat disgust.
A speculative graphic language project uncovering the root influences of Y2K aesthetics, explaining how these influences shape the trends of visual language and its impact on society at large. Presented through counterfactual artefacts of a 2000s Singapore Tech Expo, this project focuses on exploring what Singapore’s tech identity & its products could have been like and how it could have influenced visual culture of the 2000s.
The Escape Club is a project driven by a strong personal motivation to do something against this homogeneous design scene. In a world increasingly shaped by technology and algorithms, my project aims to empower design students to rediscover their unique design styles and liberate themselves from conventional design norms. The primary objective is to explore diverse design approaches and cultivate critical thinking skills among students, challenging the industry’s standardisation and promoting creativity and individuality in design.
“Don’t Throw Away” is an autobiographical narrative that explores the de/romanticisation of family life and memory, through the use of object storytelling. As I sift through my grandparents’ old stuff in hopes of uncovering truths about their past lives, I am confronted with lost histories, estranged relationships, and my own unmet ideals. What does it really mean to remember someone, and what is left after everything has been ‘thrown away’?
The Anxious Chronicles is a unique portrayal of my personal journey with anxiety. By visualising my anxiety through Acceptance & Commitment Therapy as well as humour and satire, I aim to externalise this internal battle and provide a new and lighter perspective towards anxious feelings. I also incorporate illustrations depicting various perspectives on anxiety, as I strive to convey the idea that anxiety is not a burden to get rid of but rather a companion to be understood and nurtured.
Set within a visual space filled with posters, zines, and miscellaneous items, The Anxious Chronicles mirrors the cluttered yet whimsical nature of my anxious but satirical mind.
Planting Heritage is a project that aims to increase the appreciation of plants amongst young Singaporeans. Through incorporating local plant heritage and storytelling, the project focuses on introducing native plants and their cultural relevance to the audience. Capitalising on the rich reserve of plant customs from our diverse communities, the project explores the role plants play in our culture and highlights the important value of plants in order to connect young Singaporeans to nature and the conservation of the environment.
“Frames” is a four-volume publication that highlights the intangible workings of digital platforms in a tangible format. Each volume serves as a physical window to a topic, with the form mirroring its content, colour-coded similarly to macOS’s (2024) window browser buttons.
No.01: Interrupted Cuts – Every page features literal “die-cuts”—holes placed between text or images, physically interrupting the reading experience, mirroring how ads cut and interrupt in between content.
No.02: The Non-Linear – Publication’s flow isn’t dictated linearly by the author, but rather, by the reader’s point of interest. Footnotes function as “hyperlinks,” connecting topics flexibly, not sequentially.
No.03: Variable Rewards – Mimicking social media’s unpredictable rewards, be it a heartfelt post, or a funny video. Likewise, each page’s content is concealed beneath scratch-offs, revealing variable content—be it a text, image or even a blank page.
No.04: Bite Size Formats – Compressing the previous 3 publications into 15 words or less on each page for quick consumption, akin to a 15 minutes Youtube video compressed down to a 15 seconds Youtube Shorts.
Go Home is an autobiographical story about some of the religious tensions and transitions present in my family. This project highlights the conversations I’ve had with my family as I pursue a different religion. Motivated by a need to reclaim my cultural identity, this project is a cathartic documentation of my life with my family.
Our eating choices affect our health, yet they’re often overlooked or seen as too complicated to start. To obtain healthy eating patterns, people should choose a diet that consists of a variety of foods in balanced proportions. Meals Matter therefore aims to guide young Singaporeans toward healthier eating through three steps: learning key nutrition information, putting it into practice, and cultivating long-term habits of consuming varied, balanced meals by tracking.
We don’t have a precise idea of where our food comes from. To most people, vegetables come in plastic bags from a sanitized and air-conditioned aisle. There is a disconnect to what we put on our plates and us and home gardening may bridge that gap. Ledge Gardens is a publication about the growth of crops at home, from a window ledge. It aims to encourage readers to start home gardening themselves too, a slow-paced approach to harvesting and nurturing crops from vegetable scraps. The publication is entirely hand-drawn, and is a detailed documentary of various vegetables grown by the author, the lessons learned and the set-ups used. With this example, hopefully, other beginner gardeners might be inspired to grow their own vegetable scraps too.
‘a-reum’ is a cultural design project inspired by traditional Korean art, symbols and motifs. a-reum explores a journey through Korean heritage and a contemporary fashion adaptation, by delving into the intricate world of bojagis (wrapping cloths). The designed bojagis act as a testament to the fusion of traditional motifs curated to encapsulate a distinct visual ‘Korean-ness’ while bridging past and present, tradition and modern style.
Novak is a speculative branding project envisioning a future where pharmaceutical interventions are used to combat overconsumption.
To address this global challenge, Novak pioneers a groundbreaking bottom-up approach, targeting material desire directly within the human brain.
Utilising advanced techniques to analyse individuals’ emotional states through facial expressions and environmental cues, Novak tailors pill dosages to precisely fulfil cravings for contentment, internal validation, tranquillity, and pleasure.
In this innovative exploration, Novak delves into the intricate relationship between consumerism and authenticity.
Through its pioneering creation of pills that satiate human longing, Novak questions our prevailing notions of choice within capitalist systems, sparking critical discourse on the future of consumption and societal values.
Past Forward: A Study on Indian Design Language intends to analyse the historical trajectory and development of Indian Graphic Design from pre-colonial to post-colonial India to develop a concrete understanding on the principles of Indian design applied during these periods. Focusing on printed matter, the study hopes to trace how the introduction of Eurocentric Design by colonial rule impacted the development of Indian Graphic Design and to critically apply the roots of Indian design heritage in today’s design practice.
With globalization, immigration, and the internet, the crossover of cultures is far more commonplace than it ever has been. As a result, many people around the world have grown up with several cultures, known as Third Culture Kids or Cross-Culture Kids. You Don’t Seem Filipino uses my personal story to reflect on the experience of being a Third Culture Kid. This graphic novel memoir delves into my perspective growing up in the Philippines and Singapore; covering my relationship with language, my experience adapting to a new culture, and the sense of loss many Third Culture Kids undergo.
Dating is a multi-faceted and tangled topic. It is confusing even in its complexity, at times exceedingly simple and at other times defying logic. For such a perplexing topic, there is a dearth of local literature or narratives embodying the contemporary Singaporean dating scene especially among youth. I seek to address this need in my FYP by portraying Singapore’s dating scene through a collection of dating stories from people’s youth. The stories will be informed by interviews that I have done. I hope to create a narrative that would recognise our struggles about dating in Singapore and cultivate some solidarity in our suffering.
The School of Real Men is a fictional school that aims to teach young men on the multifaceted responsibilities women are expected to bear in the home, of managing household tasks and the emotional load that accompanies them. The school is manifested in a publication in the form of a student handbook. Through satire and tongue-in-cheek humour, this project aims to expose the passivity of Singaporean men to inspire them to be more conscious and appreciative of this labour so they can be more supportive partners and sons.
REKINDLE is an initiative dedicated to reigniting bonds within families that have strayed. Through a series of curated assets and zines, the project aims to mend fractured relationships and build communication. Utilising a holistic approach, it addresses underlying issues of generational differences and gives a guide on how families can choose to take the first step to navigate the unspoken issues.
Motivated by the social experiences of young adults and the post-pandemic society, Social In Situ: A situational guide for the socially apprehensive is a project that explores a situational approach to dealing with social apprehension in interactions. This is a multi-faceted guide that focuses on more than just being more extroverted.
This project hopes that the audience feel more comfortable navigating social interactions through the design of relatable characters, a scenario-based archetype quiz, and an engaging informative social media space.
D(RAFT): seeks to understand the mindsets of individuals who pursue a career in the fields of Graphic Design, Animation, Illustration, Film and other artistic fields (hereafter defined as ‘creatives’ for the purposes of this project). More specifically, the study aims to examine how creatives in Singapore, negotiate between passion and practicality as reasons to stay in an unpredictable but artistically fulfilling role or leave their current fields for other types of work that might provide better stability.
TRANSCULTURAL ODYSSEY: From Chongqing to Singapore is based on my personal experiences, representing a cross-cultural journey from my hometown, Chongqing, China, to an 8-year study in Singapore. The project aims to explore the cultural differences and difficulties that an international student faces by focusing on the rich interplay of customs, traditions, and daily practices that define life in both Chongqing and Singapore. In the end, the project aims to craft a personal odyssey, reflecting my unique journey and experiences.
“Terra: New Horizons” is a single player, third-person shooter action game set on Planet Terra. Join Kyra as she embarks on a discovery mission, facing off against the planet’s inhabitants while unraveling the mysteries surrounding Expedition 503.
Ryan Misson:
3D Character Artist, Game Animator, Concept and Storyboard Artist, Lead Level Designer, Assistant Technical Artist
Koh Boon Xuan:
Lead Environment Artist, Lead Technical Artist, Level Designer
Benjamin Lee Kuan Yong:
Cinematic Animator, Cinematic Lighting Artist, 3D Artist
A 2D animated film set in a local art gallery, where a Victorian painting of a pair of twins has been a prominent attraction for decades. However, when one twin sister mysteriously disappears from the artwork, the other is then forced to leave the comfort of their painting and journey through the gallery to find her.
Clementine is meant to be an exploration of loss, embracing change and eventually coming into your own person. The film draws inspiration from various renown artists of different time periods and art styles to create a visually rich and dynamic narrative experience that pays homage to the diversity and innovation of artistic expression throughout history.
Michelle Kham:
Producer & Art Director, Storyboard, Animation, Environment Design, Compositing
Wynne Yap Waiyi:
Environment Design, Animation & Cleanup, Colour & Lighting Compositing
Lim Lai Ting:
Environment Design, Animation, Colour & Lighting, Compositing & Video Editing
An unexpected friendship develops between a 10-year-old and the owner of a struggling frog farm. ZIO ZIO is a mischievous kid forced to grow up amidst her parents’ separation and passes her time on the streets. When her antics land her into trouble, she finds herself spending her time in a floundering frog farm run by LENA, a tough middle-aged woman with secrets of her own. As their connection deepens, Zio Zio realises that she may never get the kind of love she wants from her mother. But for the first time, she feels seen by Lena for the child that she is supposed to be. Though eventually, the frog farm comes to an inevitable end, and so does ZIo Zio and Lena’s time together.
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.
‘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.
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.
In the post-apocalyptic landscape of the creative industry, ‘The Rich Designer: A Doomsday Survival Guide for Designers’ emerges as a beacon of hope for fresh design graduates in Singapore.
This guidebook delves into the harsh realities of a designer’s journey, tackling stagnation, burnout, and financial instability with a blend of stark doomsday-themed visuals and insightful advice. Drawing from the experiences of seasoned professionals, it arms young creatives with strategies to navigate the ruins and build prosperous careers. This exhibition piece is not just a guide; it’s a manifesto for survival, growth, and financial mastery in the design wasteland.
