You were a finalist in 2020, congratulations on being shortlisted again! How have the past two years been for you?
The past 2 years have been tumultuous to say the least. I am, however, grateful to be offered opportunities to continue taking my practice to greater heights and to also bring my works to audiences both locally as well as internationally. Since 2020, I have developed 2 new bodies of work, 156 Emerald Hill – the said shortlisted artwork for the Sovereign Asian Art Prize this year; and another installation Zoom, Click, Waltz. 156 Emerald Hill was exhibited at S.E.A.Focus during Singapore Art Week 2020 and subsequently awarded an Honourable Mention at the 2020 International Photography Awards.
Zoom, Click, Waltz is a multimedia installation comprising 13 LED screens. A culmination of documented events, staged recording and found footage, this artwork depicts individuals in various states of “performance”, while isolated within separate window frames. What began as an attempt to communicate with neighbours during Circuit Break, developed into an imagined possibility of individuals connecting through dance. Over a period of 2 months, residents received mailed instruction requests to perform at an interval spanning 30 minutes. These recordings were at times effective, others, futile.
Various subjects’ responses range from active to passive; with individuals participating in modes of conscious performance, and others nonchalant, in contemplation. Juxtaposed and interspersed alongside found media, separate footages are stitched together to form an uncanny, seamless reality situated in the inter-spaces between interpretation and negotiation, truth and fiction, performance and chance. This artwork clinched the 3D Interactive award for the The Lumen Prize for Art and Technology 2021 and was subsequently exhibited at the 2021 Daegu Photo Biennale in Korea.
Another one of my recent works, Art of the Rehearsal was exhibited at the Chrysler Museum of Art following its acquisition by the museum and will be exhibited at the Asian Art Museum in San Francisco later in the second half of 2022. Looking ahead, I am in the midst of developing a body of work for my upcoming solo exhibition in 2023.
How important is it to support artists from Asia-Pacific?
The Asia-Pacific art scene is developing and maturing each year. Within the creative industry, it is encouraging to see
continuous support for Asia-Pacific artists, in developing their technical abilities and creating opportunities for artists to engage in more critical discourse. Of course, all the more encouraging to observe efforts in recognising female artists within the arts industry. It is important for us to remain competitive on regional and international platforms.