I think about spatial value, the
value of other people, the value
of people working together.
ABOUT
The oneness and porousness of life and art in which I thrive; to be, live, and practise art while embracing the agency of life’s uncertainty: my multidisciplinary art practice traverses the domains of drawing, sculpture, performance art, sound, installation, and video.
The oneness and porousness of life and art in which I thrive; to be, live, and practise art while embracing the agency of life’s uncertainty: my multidisciplinary art practice traverses the domains of drawing, sculpture, performance art, sound, installation, and video.
In 2000, I was awarded an education bursary from the National Arts Council, and I graduated from the Royal Melbourne Institute of Technology’s Bachelor of Arts programme, with a major in sculpture. I was also awarded a cultural scholarship from the Goethe Institut Berlin in 2005. Since 1999, I have exhibited works, taken part in artist residencies & participated in art festivals in places such as Germany (ZKM Center for Art and Media), Japan (Fukuoka Asian Art Museum), Australia (Asialink, VCA), France (Cité internationale des arts, Palais de Tokyo, MAC Lyon), Singapore (Singapore Biennale), the USA (Asia Society Triennial), and Austria (Festival der Regionen, Klang Festival, Communale). In addition to my work as an artist, I also direct and curate the Islands Time-based Arts Festival (ITBA), perform as an integral part of the band Closing Time, and work on set and sound design for local theatre productions.
For over a decade, I’ve conceived and created socially engaged art projects with diverse communities, both locally and abroad — working with communities allows me to connect deeply with people, and to experience
the realities of their lives. More recently, my research
has focused on well-being and pain; specifically, how we
perceive, struggle with, adapt to, and conquer pain while
developing empathy. This research has also sparked
my interest in choreographic language, and interpreting
emotional labour. I see my journey as one to shape pain,
and how art re-examines our well-being through its
integration into the broader social fabric.
As a whole, these are my attempts to grapple with
reality, so we can feel less alone. What began as a private
cry in the dark evolved into a workshop, a performance,
a toolkit, a publication, a film, a festival, and so on. My
practice is intuitive, both ephemeral and object-based.
It exists in a space between many things: materiality and
performativity, absurd humour and gruelling tenacity,
ritual and release, sound and silence. It inhabits body,
object, room and the world.
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