I call myself a sculptor and site-specific installation artist, however, I was primarily a drawer; my two-dimensional practice eventually unfolded into three dimensions over the years. They become large-scale sculptures as an installation that change the entire environment on site. I believe in any material’s potential to be viable for artistic purposes and feel excited to see how they sublime as artwork. Ageing over time or the effects of natural resources such as sunlight is crucial for my work, and it has something in common with our being.
My main theme is communication, perception, and presentness. A production process is as important as the outcome to me. I put a value on communications with all the stakeholders I interact with when getting ideas for a material choice or collecting. The new encounters bring me joy, and also I enjoy conversations with familiar faces who know my artist trajectory. I am grateful these allow me to share the same moment with them.
As a Buddhist, I often think of the Buddhist notion of being and non-attachment; it always confronts me with the question of how flexible I can be in the present and precious moment, which ultimately influences my approach to artwork and outcome ultimately.