Within my studio practice, I work across disciplines; sculptures of found objects with sewn forms, printmaking, video and installation. I employ drawing at its core, often represented with works on paper and stop-motion animation. Conceptually driven, I construct poetic narratives dealing with the negotiation of my sexual identity against the learned binaries of my girlhood in my home country, Malaysia. Through this negotiation, I reject the binary ideals of my girlhood while its soft power leaves me longing for the comforting facets of it. This manifests as drawings of stunted woman-girl figures wading through a landscape of fading memories, with symbols such as braids, embroidery, hands and switches serving as windows into these moments. I utilize the tension of enticing materials such as cocoa dust to create lace impressions and ribbons to bundle broken twigs. Through my narrative of personal growth, I acknowledge topics of broader societal biases and oppression affecting the LGBTQ community and women in my home country.
My recent body of work is inspired by research on the haze season in Southeast Asia. This annual, man-made phenomenon began in the 1980s as a result of unregulated agricultural slash-burnings. The haze can blanket countries such as Malaysia for weeks or months at a time, and in its more severe years can result in school closures and road blocks. Birds fall from the sky, littering the streets. The environmental violence of the slash-burnings and the haze has been normalized and even expected. I am interested in drawing parallels between this veil of complacency and the violence enacted towards the queer community, women and the environment.