Views From The Rooms

Views From The Rooms is an on-going photographic series of window views from different study rooms and its surrounding objects belonging to various people. This project aims to serve as a form of studies on the dynamic relationship between constructed visuals, and how it could influence the way we think and what we do. Through a representational viewpoint, the window frames are, in a way, performing a sort of similarity to that of a projector screen – depicting an utter slow moving image of the outdoor scenery within the frames every single moment. Amalgamating with the existing objects placed at the surrounding of the windows in the room, and the elements associated with each of them, it also suggest about the background and personality of the person occupying the room.

Portraits of possibilities

This series of photos depicts superimposed men and women heads superimposed on each other is to create a studies of duality and to serve as an investigation in blurring lines between the male and female based on facial profile impression. The resulting mugshot creates a silent, oscillating charge that hints a new characters emerging and receding.

My photographic works seek to explore the tension in-between the concealment and revealing within construction buildings in public spaces during urban transition. The act of concealment inevitably creates a private space within a public space. At such, it leads to sense of mystery. In the images, my objective is to offer a glimpse of the concealed by photographing through the translucency nature of the protective mesh to suggest what exists beyond the surface. At the same time, the formal aesthetical elements carry a certain degree to functions as a gateway to seduce viewers into the unconscious act ‘peeping’

In general, my works attempt to heighten the details that are often overlooked at the familiar sight of the mundane scaffolding structures at construction sites prevailing in our built environment.

Art of Silence

Inspired by the book titled Styles of Radical Will by Susan Sontag, I am exploring the connotation of ‘silence’ as a metaphor, to express the characteristics of my photographic work. Besides using visual language to suggest the abstract concept of ‘silence’, it fundamentally seek to employ its bleakness and spaces as a stimulus to attract the viewers’ foci into the act of ‘staring’ rather than ‘looking’. The dichotomy of the two aforementioned acts has probably being misinterpreted as a way of seeing in certain sense. By looking, it immediately entails the idea of ‘understood’ and its foci of interest are often very short-lived. By staring, it contains the quality of ‘curiosity’ and also essentially, compulsion. Only art which are innately 'silent' leads us to contemplate about its meaning.

“Traditional art invites a look. Art that is silent engender a stare. Silent art allows – at least in principal – no release from attention, because there has never been any soliciting of it. A stare is perhaps as far from history, as close to eternity, as contemporary art can get.”

- Susan Sontag (Styles of Radical Will: The Aesthetics of Silence)

Life Too Short Not To Have Fun

This work directed to the kind of energetic way of life that non-conformists have chosen. The title explains it all. Applying the context of local fast-paced and moneymaking society, the artworks depict how, as younger generation, could choose an uncompromising way of living. There is always more to life than the shallow ethics of 9 to 5 working culture. It’s up to us to live the life we want. From time to time, we must learn to put aside everything and start having fun.