I wanted to show how the human mind has infinite imagination which transcends the ends of the universe. The hand, intertwined with doodles and extending out from a hole on a head represents one’s innermost self, reaching out, wanting to break free from the chains of the conscious mind. The hand branches out into infinite hands on each finger, symbolising the boundless and infinite tempest of creativity, spilling out of the subconscious mind.

This portraiture is a response to the overwhelming intensity of our times. The figure, poised to exhale relieved breath, may either be resting or sinking to into the water. I invite viewers to pause and breathe, to take in the gentle ripples of the water’s surface – copper, cobalt blue, silver. The painting’s gentle brushstrokes and harmonious color instill a sense of timeless calm.

Freedom is something that we all desire for. Sometimes we may not even know that we are under the control of someone as that someone may be your loved ones or someone you hold close to your heart. “Burn the Bridge” is an artwork revolving around the theme of freedom and it is inspired by string puppets. The way the puppeteer controls the marionette by tugging on the strings is similar to how someone in a toxic relationship is manipulated by the other person, through words and threats. In the artwork, it depicts the supposed puppeteer losing control over the hands of this person as they snap and free the victim. This symbolises severing the connection between the controller and the controlled, who ultimately gains freedom. From somebody who has witnessed my friends going through toxic relationships, I hope this artwork brings awareness to this issue and I hope people gain the courage to burn the bridge by cutting ties with their “puppeteer” and gain control and freedom within their own body.

I interpreted the theme of treasures by thinking of the point in my life where I most treasured and enjoyed. I decided to paint a childhood playground scene as my childhood is one of, if not my most treasured memories. I painted 3 kids playing in a local playground (dragon head), and a treasure chest containing soft toys and other items from my childhood. The soft toy is floating away, out of the treasure chest, showing how my childhood is slowly fading away. Through this artwork, I began to appreciate my childhood days more and more, as I explored my memories when coming up with ideas for the artwork.

My work revolves around the idea of the transformation of flora amidst the age of industrialization. The elements of this artwork represent the process of the death and rebirth of flora on Earth. Through my work, I hope to explore the tragic transformation of mother nature from past to present. As I walk through the journey of life, the alluring nature around me gradually fade away, and are replaced with modern buildings and disturbing sights of litter-ridden greenery. Therefore, may this work raise awareness on this major global concern.

Boom! is a response to the turbulent social climate of the Israel-Hamas war, inspired by reading news articles interviewing survivors about their outlook on life. I used a flower in place of a head to represent the mental state of the subject. Survivors who are able to overcome challenges that come their way are able to bloom like flowers. The black and white background points to a grave setting whilst juxtaposed against coloured subjects, illustrating the human nature to preserve and survive.

The photograph captures a fleeting moment outside a convenience store in Seoul at night, where a group of women pauses to peer into a brightly lit fridge, while the shopkeeper and another customer occupy the illuminated interior. A scene of contrasts: light against shadow, warm against cold, the cozy interior world of the store against the quiet, open space of the street. This interplay creates a liminal space that exists between the inside and outside.

Sometimes, I feel as if I’m just a spectator of my own life, not really living in the present, unsure of my identity. It feels as if I am fastened inside my eyes, having the ability to observe, but not having the authority to take control over my life. This artwork is a crude reflection of that mental state, one that has taken over me in the process of growth.

Monotony conveys the struggles of elderly workers in Singapore who remain trapped in an endless cycle of labor. The varying proportions of plates highlight the oppressive relationship between the elderly figure and her work, while repetitive elements, like the Tabao bags (takeaway bags) with Kopi-o (black coffee with sugar), symbolize their relentless tasks. These repetitions create rhythmic patterns that evoke both the predictability of their routine and the emotional exhaustion it entails.

Vibrant colors evoke the idealized notion of a vibrant and fulfilling old age, where one enjoys freedom and peace, which clashes with the dull monotony of the elderly worker’s reality. At the top, the looming coffee visually traps the figure, symbolizing how she is consumed by the very labor that sustains her. This metaphor highlights the inescapable, cyclical nature of her plight, urging viewers to consider the hidden struggles of a vulnerable yet indispensable part of society.

Our life journeys are often filled with challenges and struggles. Yet, we are fortunate to have friends and loved ones who support us. May we always find the strength and courage to persevere. I hope this sculpture resonates with viewers, inspiring them to reflect on their own journeys and find motivation in the power of human connection.

In the current digital age, the preservation of memory has never been easier. Nevertheless, it is inevitable that our memories fade or fragment over time. Forgotten incorporates objects of personal significance that sparks memories from my past and childhood. I used smoke to show the fleetingness of memory, reflecting the nature of forgetting.

My artist toy sculpture is a juxtaposition of a television with the artist, Nam June Paik. The character is placed interacting with one of his display pieces, TV garden, which features multiple TVs placed within an area of greenery. In the model, the artist is seen figuratively looking at another TV installation. This highlights how the artist sees himself as the TV and shows how his entire personality and identity is based off televisions, with the added humour of how the artist’s head is literally a TV.

Lazarus is a representation of my experience as a female artist. In this work, I use abstraction and symbolism. For example, the main subject has her eyes closed, with a blank expression, not allowing the audience to read her feelings. This is to show how as women, people place stronger emphasis on our appearance instead of our personalities or character, which is further amplified by the bright, appealing colors used on the figures’ skin. Contrasting this, away from the main focus, is a distorted painting of a mouth. This symbol is pushed to the side, showing a more realistic and raw presentation of the innards of someone, though ugly and shocking.

Serenity reflects my first steps into acrylic painting, capturing the stillness of a Japanese street. I spent months layering light and shadow to evoke warmth and calm. The muted blues and purples mirror quiet moments, while the details of signage and architecture bring life to the scene. Medium: Acrylic on canvas.

When was the last time you played?

My work criticizes the younger generation being chronically online; hence, there is a lack of a shared play culture among Singaporeans. The social realism painting is situated at the Dragon Playground, a prominent landmark. The Dragon Playground used to be a place where kids played every day. However, it is now often desolate and slowly succumbing to weather damage. If the youth of Singapore stop playing outside, our current existing play culture could become obscure. Think about how you, as an individual, could help preserve our precious play culture.