✷ Sundry AiR: The Gift That Keeps on Giving (2023)
✷ I’m Exhausted, Where is He? (2022)
SELECTED GROUP EXHIBITIONS
✷ Lady Dior As Seen By (2024)
✷ Of placebos that sing sweet in the... (2024)
✷ Between The Lines (2024)
✷ ASEAN ON PAPER (2023)
✷ Serving Thots (2023)
✷ Diverse Visions (2023)
✷ Nature and Now: Asian Art in Focus (2023)
✷ There Are Flowers in the Morning Mist (2022)
✷ State of Play (2022)
✷ It’s my party and I’ll if I want to, you’ll... (2022)
✷ only losers left alive (love songs for... (2021)
✷ The Foot Beneath the Flower: Camp... (2020)
SERIES & CATEGORIES
✷ Untitled (Chocolate Boxes) (ongoing)
✷ Who Knew I’d Be the Stable One (ongoing)
✷ Untitled (Radial Sculptures) (ongoing)
✷ Installation
✷ Print & Drawing
✷ Text
There Are Flowers in the Morning Mist
17 December 2022–15 February 2023
Supper House
Singapore, Singapore
Curated by Ashley Chiam
Part of Singapore Art Week 2023
Images Courtesy of Supper House
Related Artworks
No One Can Hurt You Here (2023)
17 December 2022–15 February 2023
Supper House
Singapore, Singapore
Curated by Ashley Chiam
Part of Singapore Art Week 2023
Images Courtesy of Supper House
Related Artworks
No One Can Hurt You Here (2023)
Description
Excerpt from Artist Statement:
‘No One Can Hurt You Here’ is a context-based installation based on themes exploring the psychological idea of “safe spaces”. As a continued exploration into self-therapy through environmental stimulus, the artwork is an abstract construction of the artist’s safe space–a non-physical environment he can be himself in and be in control of his emotions, where neither emotional nor physical harm can manifest.
Working with inflatables for the first time, the work expands on the artist’s body of ornamented work, reintroducing the abstract floral motifs from past works like ‘Bouquet of Disappointment (2021)’ and ‘That’s the Last Time I’m Watering Your Flowers (2021)’. In this iteration, florals continue to be a symbolism of femmeness within the context of alternative identity, with the inflatable medium intended as metaphors for emotional lightness and safety. Mirroring the ever-changing nature of how we perceive and circumvent threats to our safe-spaces, the installation is free-forming, periodically reconfiguring according to the natural and inevitable deflation rate of the sculptures.
Set-up within a makeshift square structure in a manner that amplifies intimacy and privacy, the installation focuses on three main floral inflatable components, placed in close proximity to two chairs, allowing for only two people to experience the work at any given time. As a first attempt into performance, in an extended segment titled “Welcome,” the artist was present, inviting one available participant at a time to experience the work with him, led by conversations on emotional wellbeing.
Excerpt from Artist Statement:
‘No One Can Hurt You Here’ is a context-based installation based on themes exploring the psychological idea of “safe spaces”. As a continued exploration into self-therapy through environmental stimulus, the artwork is an abstract construction of the artist’s safe space–a non-physical environment he can be himself in and be in control of his emotions, where neither emotional nor physical harm can manifest.
Working with inflatables for the first time, the work expands on the artist’s body of ornamented work, reintroducing the abstract floral motifs from past works like ‘Bouquet of Disappointment (2021)’ and ‘That’s the Last Time I’m Watering Your Flowers (2021)’. In this iteration, florals continue to be a symbolism of femmeness within the context of alternative identity, with the inflatable medium intended as metaphors for emotional lightness and safety. Mirroring the ever-changing nature of how we perceive and circumvent threats to our safe-spaces, the installation is free-forming, periodically reconfiguring according to the natural and inevitable deflation rate of the sculptures.
Set-up within a makeshift square structure in a manner that amplifies intimacy and privacy, the installation focuses on three main floral inflatable components, placed in close proximity to two chairs, allowing for only two people to experience the work at any given time. As a first attempt into performance, in an extended segment titled “Welcome,” the artist was present, inviting one available participant at a time to experience the work with him, led by conversations on emotional wellbeing.