A music video where a rocket-riding witch defends her city from a giant monster in an explosive fast-paced battle.

Jared Goh
Director, Character Animator

Yang Quanhui
FX Animator, Secondary Animator

Noel Tay Wei Cheng
Background Artist, Colorist

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)
Screenwriter, Sand Animator, Character Designer (Sampath, Child, Shadow), Editor

Ong Boon Huey
Director, Producer, Character Designer (Mud creatures), 2D Animator, Cleanup

Tay Min Kuan
Backgrounds, 3D Artist, 2D Animator, Art Director

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:

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

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

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.

Suit Royal is a turn based 1v1 card game with elements of poker where each player represents a faction and duke it out. With factions derived from card suits’ symbolism of the four classes of Medieval society, each suit has a unique playstyle based off its traits.

Xiao Liang:

Technical Director, Gameplay Programmer

Yi Ling:

Producer, Character Artist, Concept Artist


Director, Character Artist, Concept artist, VFX Artist


+icks is an interactive installation that utilises non-verbal language as a medium to raise awareness about global warming and encourage change for Singaporeans. Through sight, sound, and touch, the project is a sensory experience that revolves around the relationship of cause and effect which is the fundamental reason for global warming. It also adopts psychological theories to analyse humans’ thoughts, behaviour, and emotions for an effective outcome.


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.

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.

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. 

Motivated by my desire to greatly inspire and engage children in their learning, my final year project, Reshaping Learning for Dyslexia, hopes to achieve greater inclusivity in learning materials for children with dyslexia — incorporating a more “dyslexia-friendly” typeface across these materials, and in turn, bridge the learning gap for these children, through early intervention and exposure.

“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’?

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.

Aftermath is an art installation that explores the aftermath of sexual assault and what victims go through. This installation examines the relationship between the bystander, the victim, and the perpetrator, and how everyone is complicit in the aftermath. It seeks to showcase the perception of the victims when they have to survive the aftermath and attempt to heal while showing the feelings and reactions of bystanders during the recovery process.

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.

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.

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?