Linked, 2024
Crocheted ramie dyed with shulang (薯榔), woven shell ginger (月桃)
20cmL x 7cmW x 35cmH
Created during my Art Ripple Taitung residency with Abus Bunun Traditional Weaving Workshop
Separated by distance and perhaps modern language, Austronesian people still share common roots when tracing back their origins. This work splits apart but joins back into a single sculpture, suggesting how these Austronesian people who have walked down different paths all those years ago have a shared history. When viewed from the side, the artwork’s holes meld into a single form, and the woven loop in the middle forms a clear link that is seemingly sunken into the crochet, locked in place.
The organic form of the crochet was inspired by arches and holes in coastal rock formations, which I saw in Lyudao Island (Taitung).
While weaving is made up of many different warp and wefts (like in the Yuetao weaving at the bottom), crochet is made by one continuous thread. Creating this was a challenge at merging 2 techniques that are foundationally different.
‘Linked’ is an exploration of breaking and rejoining. Even when the form splits in two, it ultimately joins back into the same one sculpture seamlessly, giving the impression that the holes have worn through the middle as they do in coastal rock formations. The two separate materials seem to have grown around each other with time.
かげ Kage, 2024
Crocheted nylon and wool, broken kawara tile
32cmL x 17cmW x 35cmH
In Japanese, ‘Kage’ can be read as 「影」or 「陰」. Meaning ‘shadow’ or ‘yin’ (in yin-yang) respectively, it hints at an ‘other’ self that always exists within a whole. This vessel (inspired by amphoras with its pointed base) is joined to an extension of itself, hidden or warped when viewed from the side, just like our shadow on different surfaces. Looking at the wall on the left, the shadow appears as that of a regular vase.
The wool crocheted within the nylon acts as a fire retardant, preventing the fire from reaching the broken kawara within. The nylon is used to hold the wool in place, but it has to be melted away before the wool becomes exposed. While it seems a waste of the crocheted nylon as it ceases to exist, the wool structure cannot exist without the nylon.
100, 2023
Crocheted silk noil and wool, soil from Cognac
18cmL x 18cmW x 40cmH
Commissioned by LOUIS XIII as a multi-media artwork, presented with video
This sculpture is the culmination of 100 transformations. The same yarn used to crochet the 100 iterations before this sculpture takes on character and age over time, the multiple unravellings resulting in the painted portions of yarn spreading out from the core of the sculpture. The paint ‘marks’ certain stitches, and we see where it has travelled away from the stitches beside it, or reunite with them again in different iterations. This reminds me of chance encounters with seemingly random people in our lives, who leave an impression on us.
The form of this sculpture was inspired by vessels (especially the marble ones) I admired while visiting the Louvre in Paris, and is a combination of the different techniques and shapes I explored while creating the first 100 iterations. There is an element of nature with the petal and leaf-like structures. The top of the vase folds into itself to form a double-walled ‘bowl’ within a bowl, creating a ‘moat’ in which soil collected from Cognac has been placed. It creates the impression of a ‘fountain’, where this greyish soil replaces water. Like all my vessels, this was worked as a single piece, without joinings or an internal structure, and is hollow through like a tunnel, or fountain.
We often hear the phrase ‘fountain of life’— this sculpture carries in it the soil of the vineyards in Cognac, which contains all the goodness that matures into the flavourful layers in cognac as it ages. It represents the beginning, and the spring of life for this cognac we taste decades later.
Qiān Jīn: Yi 乙, 2024
Crocheted and melted nylon
52cmH x 20cmW
This vase is part of the installation Qiān Jīn, featuring 4 vases inspired by ceramic glaze and the willow-leaf shaped vase. They are named after the first 4 of 10 Celestial Stems, the ancient Chinese ordinal system.
This vase features an openwork pattern, inspired by those found in celadon ceramics. The vase is double-walled, with a conjoined core controlling the amount of light seen through the gaps. Only a hint of deeper red creeps in from the mouth and base.
The delicate openwork takes on a glossy look that looks amazingly similar to ceramic glaze. The rings on the openwork have melted in varying degrees, producing some that have split to reveal soft nylon on the inside, held in by webs of glossy nylon. The contrast of the deforming rings to the soft nylon surface is especially strong in this vase. The darker inner layer is revealed, forming a dark backdrop for the textures on the outer surface.
Qiān Jīn: Jia, 2024
Crocheted and melted nylon
52cmH x 20cmW
This vase is part of the installation Qiān Jīn, featuring 4 vases inspired by ceramic glaze and the willow-leaf shaped vase. They are named after the first 4 of 10 Celestial Stems, the ancient Chinese ordinal system.
The original willow-leaf vases in ancient China were often plain, with a focus on their elegant shape and beautiful glaze colour. This vase has only slight textures on its base and neck, to bring attention to the different reds blooming on its surface. Mono-colour yarn of red, orange, and pink were switched in and out at random to form a pixel pattern resembling glaze when viewed from afar, inspired by the coveted ‘peach-bloom’ and sang de boeuf colours.
The melting was carefully controlled to form an almost barnacle-like formation rather than a continuous hole. Charring on the surface forms silvery ash dots that create almost a sheen, set in the glossy nylon, and resembling the skin of a red grouper.
Qiān Jīn: Bing 丙, 2024
Crocheted and melted nylon
56cmH x 25cmW
This vase is part of the installation Qiān Jīn, featuring 4 vases inspired by ceramic glaze and the willow-leaf shaped vase. They are named after the first 4 of 10 Celestial Stems, the ancient Chinese ordinal system.
Creating an impression of stacked layers, the number of stitches in each horizontal row is counted and manipulated to form ‘diamond’ line ‘patterns’ on the surface. Focusing on bringing out the heavy textures, this is the only vase without a gradient, and resembles terracotta with a more orange hue.
Due to the thick layers, this vase holds its shape well; the layers’ exposed edges are exposed the most to the melting, forming thin, almost neat extensions of melting nylon.
Qiān Jīn: Ding 丁, 2024
Crocheted and melted nylon
56cmH x 20cmW
This vase is part of the installation Qiān Jīn, featuring 4 vases inspired by ceramic glaze and the willow-leaf shaped vase. They are named after the first 4 of 10 Celestial Stems, the ancient Chinese ordinal system.
Inspired by relief patterns on Chinese vases, this vase employs a simple cable pattern, similar to those found on knitted garments. This carries the eye along the elegant line of the vase, and ‘cages in’ the band of gradient around its bosom. The lines merge into 4 main ones that angle the neck into a square shape. The bottom of the vase is adorned with leaf patterns.
The bold gash in the vase almost splits it into 2 from top to bottom, and the pattern on the surface melts away just enough to see some lines fade, as if they have worn off with age.
Dignified, 2022
Crocheted and melted nylon
50cmH x 25cmW, Base: 100cmD
From the Unbecoming series, featuring prints and film
Named 'Pompous' before it goes through the melting process, this vase becomes 'Dignified' as the image it creates for itself- symbolised by the outer layer- melts away, revealing an inner core. Embracing its history and true inner being, becoming proud of who it has become- 'Dignified' represents growth and self-esteem.
The silhouette of the vase was inspired by the Korean Maebyeong (plum vase) of the Goryeo dynasty, while the gradient effect created by switching solid yarn colours was inspired by the celadon glaze so sought after in the 10th and 11th century.
Photography by Clarence Aw
Committed, 2022
Crocheted and melted nylon
40cmH x 27cmW, Base: 50cmL x 35cmW
From the Unbecoming series, featuring prints and film
These vases were crocheted separately and then torched by a flame. Intending them to ‘hug’ when the nylon melted and fused, the organic forms were made to lean into each other. Instead, the 2 vases started pulling away from each other with the heat- like over-passionate conversations unleashed.
Slowly, unexpectedly, one leaned forward, and the other back, looking almost like a pair of lovers tilting imperceptibly as they move into a hug. The focus of this series was not knowing exactly how each piece would react to the flame; it is that question mark that builds up all the tension from the first stitch of each piece, which is then released when they fall apart. In having an uncontrollable flame decide the fate of each piece, your emotions take you on a journey, creeping into some personal crevice of each person’s memory as you look at the work.
Named ‘Clingy’ before the melting process, these 2 organically-shaped vases do end up fusing together in the end, after their romantic dance with the flame- turning into ‘Committed’.
Photography by Clarence Aw
Carefree, 2022
Crocheted and melted nylon
44cmH x 19cmW, Base: 70cmD
From the Unbecoming series, featuring prints and film
While the image of ‘Carefree’ might be bright or colourful, this piece in a subtle grey seems almost mild. Yet, in its folds, hide secrets that escape an initial impression.
Named ‘Frivolous’ before the melting process, this vase seems almost architectural with the strong lines. The excessive folds represent a stubborn desire to be as one pleases, which might be seen as vanity (frivolous), or unapologetic individualism (carefree).
A blue thread was concealed within the walls of the vase as it was crocheted, revealing itself only when the outer layer melted away— the sinews of individualism hidden in its core. Looking almost like veins amongst bone within the melted folds, this piece is one you can perceive differently through time, almost like a personality.
Photography by Clarence Aw
Steadfast, 2022
Crocheted and melted nylon
44cmH x 30cmW, Base: 60cmW x 70cmL
From the Unbecoming series, featuring prints and film
Aptly-named ‘Stubborn’ before the melting process, this anthropomorphic vase could embody both a positive or negative quality; ‘Steadfastness’ can easily be seen as ‘Stubborness’ from a different perspective.
The hole in its shoulder seems almost like a battle wound; a gaping void.
Photography by Clarence Aw
Demure, 2022
Crocheted and melted nylon
42cmH x 21cmW, Base: 96cmD
From the Unbecoming series, featuring prints and film
With its elegant, long neck and textural openwork, Demure is almost reminiscent of Nefertiti; a symbol of feminine strength. Perhaps it was the reason Demure took to the flames so quickly, charring the most, bantering with the flame that grew so huge it seemed to swallow her.
Named ‘Aloof’ before the melting process, this vase could seem distant; yet it could be because it exudes an air of coyness. The doily for this piece features a lot of open work, resulting in a sensual, lace-like effect. After melting, the vase tips to the side, almost as if it was shying away from something; someone.
The only vase torched upside down, the molten nylon freezes in a gravity-defying state, reinforcing the notion of time in this piece— how the flame changes it in a split-second, and how it has been captured in this exact state.
Photography by Clarence Aw
Vessels of Time, 2021
Crocheted handspun calendar yarn
Set of 3 sculptures
Small: 22cmD x 26cmH
Medium: 28cmL x 12cmW x 30cmH
Large: 17cmW x 42cmH
The yarn was spun out of paper from tear-away calendars, a traditional item in Singapore that is coloured in red and green. These passed days were stripped and spun, held together only by twist. This was first used in the project Fort of Leaves in 2019, then repurposed again into these vessels. Unlike my other nylon vessels, these are slowly crumbling away with the passing of time, as natural fibres do.
Time is a Commodity, 2021
Crocheted nylon yarn
Set of 3 sculptures
Yellow: 13cmW x 23.5cmH x 13cmD,
base: 29cmD x 10cmH
Black: 24cmW x 11cmL x 30cmH,
base: 25cmL x 21cmW
Blue: 15.5cmW x 14cmH x 15.5mmD,
base: 24cmL x 20cmW
First exhibited in Singapore at Art Encounters 2021
Nucleus, 2024
Crocheted turmeric-dyed ramie, woven ramie strap, wire
19cmL x 19cmW x 13cmH
Created during my Art Ripple Taitung residency with Abus Bunun Traditional Weaving Workshop
Yellow has had a long cultural history and is said to be one of the oldest colour pigments, having been traced back to cave paintings. It is used to represent the sun, gold, and gods even till today. This work presents itself in different shades of yellow achieved during the natural dyeing process with Turmeric.
A thin strap (woven in the style of headbands of the traditional Bunun costume) winds itself around the 3 seemingly separate vessels, ultimately combining them into a single entity. Yet it is not there simply as a decorative element; it literally forms the core of the work.
The process of creating this sculpture starts from the middle, worked outwards, and has no true ‘bottom’ as both ends are open. While it resembles 3 separate vessels, a peek into the centre shows that it is a single form within. This represents how seemingly different entities might in fact share the same core, much like the Austronesian communities spread out across the world.
The shape of the 3 vessels are inspired by diamond-shaped vessels that I spotted often during my residency. They are lifted upwards by a lone tower in the middle. The form was inspired by the Terracotta Kernos, a kind of vessel used for multiple offerings with roots in the Mediterranean world during the prehistoric period.
