ordinary normal is a video installation that explores how technology shapes self-perception, memory, and daily life. It centers on the quiet rituals of self-documentation, morning routines, meals, moments alone, and how these acts become performances under the constant gaze of the camera.

The work considers how contemporary life is lived in anticipation of being seen, recorded, and remembered. As the camera's gaze is internalized, individuals adjust their movements and self-presentation even in private. By filming the same actions from multiple angles, the installation fragments the idea of a fixed identity, presenting the self as something continually shaped by perception.

The artists examine the blurred line between authenticity and curation in digital culture. Edited and staged content is often received as real, revealing a tension between what we know and what we feel. The work surfaces this contradiction, showing how digital narratives generate intimacy while concealing their constructed nature.

Through non-linear editing, recursive framing, and disrupted sequences, ordinary normal highlights how digital media reshapes our sense of time and memory. What seems spontaneous is often rehearsed, and what feels linear is built from fragments. The work invites reflection on how technology not only mediates what we share, but how we remember, perform, and understand ourselves.

The female body is born with a million eggs, yet the path to conception is marked by fragility and improbability. In egg-freezing, every step of the way is fraught with chances of non-materialisation. It is a snapshot of the body at that point of time, where it is goaded into overdrive to produce an unnatural number of eggs. Some eggs aren't up to par, others perish in freezing, and plenty more disintegrate during the thawing process.

Reimagining the female body as a site of both creation and experimentation. seggs invites viewers to question cultural perceptions of fertility, the miracle of reproductive technology, and the evolving role of artificial intervention in the age of growing autonomy through a surrealist and futuristic lens.

The internal crevice of an industrial site is transformed into a surreal meditation on the fragility of fertility. Suspended in an industrial four-storey mechanical car park, the bamboo chandelier adopts its abstract form from the female reproductive system with layers of concentric rings that sag towards its centre, like a sticky droplet on the verge of falling.

At the heart of the chandelier, a single light drips into the depths, mirroring the process of ovulation. The contrast between the magnitude of the chandelier and the sliver of light emphasises both the abundance of fertility and the delicate, seemingly impossible nature of conception.

Cognitive dissonance between the actual experience of fertility preservation persists in contemporary media — complex medical procedures, hormonal treatments, emotional challenges — and stock imagery of egg-freezing, is presented more akin to a lifestyle treatment.

A common visual shorthand for egg freezing frequently shows women cradling a chicken egg, which markets an optimised and polished version of reality. The unsavoury emotional and physical challenges of fertility treatments are often glossed over in favour of hopeful, optimistic depictions, which reflects the general consensus's understanding of how egg-freezing should look.

seggs explores this phenomenon through amorphous clusters of eggs surrounding the centrepiece, raising questions as to whether this idealisation assists in the destigmatisation of fertility treatments, or whether it contributes to unrealistic expectations about the process.

A real sonogram provides an immediate, visceral connection to the physical reality of reproduction, contrasting the surrealist elements with a visceral intimate glimpse into the body's interior landscape.

We are born possessing nothing, yet the seed of infinite potential lies within all of us. Through seggs, the female body becomes a canvas for reflection — a site where technology, biology, and culture collide, inspiring visitors to question philosophical ideas about what it means to create, control, and exist in the age of new autonomy enabled by human discovery.

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PresentationJanuary 2025 (Singapore Art Week) River Valley, Singapore Solo presentation with Sarah Lin

March 2025 Glass Dome, Singapore International Women's Festival

Presentation

September 2024 (Singapore International Photography Festival)
Emerald Hill, Singapore
Solo presentation with Sarah Lin

self-portrait is an ongoing video series that explores the tension between self-documentation and capitalism. Interrogating wellness culture, the artist films herself repetitively doing pull-ups. The footage is then transformed through a real-time generative process in TouchDesigner, collapsing each moment into a singular, evolving image.

Part body, part memory, part machine--self-portrait is a broader inquiry into how contemporary media blurs the line between self-expression and performance. Unpacking the aesthetics and narratives of online fitness culture, this piece investigates how subtle performances of happiness, control and ease become coded as benchmarks of self-worth.

self-portrait also engages themes of self-surveillance, with the artist intentionally concealing her identity in the footage as a portrait of resistance. How might the integrity of self-expression be retained in today's internet culture--do we have to render ourselves intelligible to avoid being taken out of context and recirculated? This piece explores what it means to retain individual autonomy instead of contributing towards an a monetized, collective brand.

Still in development, the work evolves through ongoing recordings and critical reflection--inviting viewers to consider the radical potential of what is left unshown.

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CollaboratorsComposition by Jing Jie Lim

This sound piece translates Morse code into MIDI-based, dystopian sonic textures. Once used to convey urgent, human-to-human messages, Morse here is stripped of context — its clarity warped by automation, timing errors, and the cold logic of musical translation.

In the shift from signal to sound, something is lost: intention, meaning, urgency. What remains is a language flattened into mood — an ambient unease where communication becomes aesthetic. The work asks: when a message is re-coded beyond recognition.

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Presentation

September 2025 (Singapore Design Week 2025)
Singapore Science Park, Singapore
REINVENTION curated by Yeo Ker Siang