after the Beginning, the art, as well as the writing remains directionless and sometimes departs my studio practice. only notes of innards of my ideas and happenings remain. descriBed as BreadcrumBs from the suBconscious of my dyslexic visions,  i digitally traced a flower in a vase, in front of a lace curtain Behind a glass window that a stranger arranged in their Berlin apartment during 2015. it was here i found myself running into domestic spaces and oBlivion.

i wandered what if flower language is a photo-graphic message of connected changes in rehaBilitation. to slow down process and secretly expose secret Behaviour of family, death & ecstasy,  (indirect) evidence of past life left me marked with more questions, in particular how can i document something new? the truth is, the work is not aBout homework, it’s aBout Being human, transcendence, and the legacy we leave Behind in the telling (of the sitter).  

so i asked people i knew or have just met through someone i knew to arrange flower(s) of their choice in a vessel they decide, to Be photographed in their home, recorded with a large format camera using monochromatic film. this ritual is Burial without funerals (BwF) – flower series for the unBorn.

for reasons Best kept secret, (Bwf) Became a ritual to Bury deep and intense emotions in héliogravure methods [an 18th century copperplate, photo—Based intaglio process] of unwanted pregnancies. i engraved each metal plate and etched during 2016 winter at gold street studios, trentham Based on ellie young’s philosophy. a year later and the decision to travel, work and live in another country, the individual plates were fixed on paper at tyler print institute, singapore from the teachings of dianne longley.

///// note to self: after waiting for a cracked cloud of light, premonition asked me, what if the child in the Bushes or three appendix removed - self suicided?


(2015 - still archiving)









edinBurger straße, Berlin, 2015.



suBconscious fat
as a tool for thought and art making, suBconscious fat uses a physical, vital and mental thesis theory theoretically concerned with kinetic movement in literature. from Black & white & color plates to prose writing to opalotypes the 'try-works' read as compound words and join composition of three sections; movement out of space, movement out of a difficult space and movement towards a Better space. this suBcutaneous quest excavates the Bowels of emotion, learning and Balance — perhaps to calm dark desires and my independent reality aBout photography and word art.



suBconscious fat, 2017
carBo print on white opal glass
image: 5”/7” (12.7 x 17.7 cm)
glass: 7.5”/9.6" (19.2 cm x 24.5 cm) Berlin, germany
edited in 2018

not thinking at the time, i started excavating suBconscious fat. i rememBer repeatedly recording the same street sign in germany for no apparent reason until something offhanded happened. i undressed and reclined onto a random red sofa in the middle of an afternoon. a few short weeks later and returning to my then home country singapore, i researched the Berlin street name and somehow strangely connected martin-opitz-straße, history of literary form and photography. i wandered innocently, what if Baroque aesthetics and alexandrine technique could propel first fact or feeling aBout first photography with flash fiction and prose poetry. learning more aBout the self taught writer of national german literature and stressing word rather than syllaBle, i used one sentence to descriBe my self portrait. i wrote: Baroque is suBconscious fat Buried in verse form. the line has twelve syllaBles with major stress on the sixth syllaBle. nearly a year passing and digging deeply Beyond suBcutaneous fat, i self-suicided and/or became a martyr and connected  the fatty residual that rests on top of the surface in my carBo print on white opal glass (historically known as opalotype) to the materialized moment of movement to word.

oral repair: laughing Between the instant and the photo #1, 2015
pigment print to cotton rag
20”/20.5” (51 cm x 52 cm)
melBourne, australia
edited 2018

(in)organic Body: #4, 2015
dragon tissue print
11.3”/14.8” (28.7 cm x 37.5cm)
trentham, australia

fat-works: #10, nov - dec 2017
mixed media on paper (edition of 10 unique prints using french Butter, sennelier oil paint stick and mechanical pencil on handmade japanese paper)
8.27’/11.69” (21 cm x 29.7 cm)
singapore

sqirrl, aug 8, 2015
crisco & luBe on recto
Berlin, germany


suBconscious fat (self-portrait): #1, octoBer, 2017
photomedia paper print, developed with urine
8.27”/11.7" (21 cm x 27 cm)
singapore


un-titled,(pompous) may 19, 2018
charcoal and mixed media (nBq pro spray paint, 13 redhead match sticks, lefranc & Bourgeois - rectified turpentine, general’s extra smooth handcrafted compressed charcoal white & Black, water colour sponge and pumice stone from cronulla)
image: 25.98”x40.15” (66 x 102cm)
redfern, australia

welcome, jun 3, 2016
handcrafted copperplate photogravures of flowering plant amorphophallus titanum (corpse flower), etched at goldstreet studios and archival printed at tyler print institute using izote Bone Black & transparent Base etching inks on handmade japanese washi paper.
5.9”/7.7” (15 x 19.5 cm)
paper: varied
royal melBourne Botanical garden, australia
1/1 + 3 AP

Brainmuse(um): #1, june 2016
4x5 negative contact sheet (Brain of lamB, metal needles & moxa)
9.4” /12” (24 cm x 30.4 cm)
south melBourne, australia


untitled, (cockroach kinematics #1), feB 2018
mixed media on paper (unique staBilo point 88 fine.04 red marker and kumkuma on gampi sukiawase pure white 100 gsm paper)
11.4”/21.5”  (29 cm x 54.5 cm)
singapore


forest-of-forests: #1, jan 15, 2018
polaroid colour photograph
4”/5.8” (10.1 cm x 14.7 cm)
piedra herrada sanctuary (monarch Butterfly sanctuary),
méxico


looking at sensations: untitled, (green leaf) , may 29 -jun 01 2018
handmade four colour carBo on stainless steel with traces of copper
7.2” x 11” (18.5 cm x 28 cm)
macritchie reservoir, singapore




digraphia's notes
the dress series is aBout a Bereavement dress for families that have experienced miscarriage in singapore. independently made By a not-for-profit community, each re-purposed wedding gown was hand stitched and machine sewed.

in a time when the suBject of living is pervasive, the specter series tries to communicate the hauntology of our times, temporal subjects and people of virtue that are Beyond aBsence and presence.

this elegiac idea of spontaneous aBortion is a development from my 2015 project: Burial without funerals. digraphia's notes was recorded on the fifth floor in my home studio with the haphazard haze and nature's light.


(2019 - still archiving)





gown courtesy:
angelhearts.sg
 



faceBag series
faceBags is a staged dream contemplating (Australian) jewellery archive and this lacuna in photography itself.  



jewellery courtesy:
vanderglas.com.au
talent: represents a single mother and the pregnant body through portraits.


plates of catalexis
through dress, i tried to honour the aBsence of forgiveness.

i was interested in Blending the film genre snuff, a medieval painting about the triumph of death and Beheaded videos from mainstream media.

to achieve the mood and implications, i surveyed the head.





photography: george angelovski
style: george angelovski
( richard nylon headpiece- DECO MASK, 2007. rachael cassar, feathered neck piece- AS THE WORLD FALLS DOWN, 2006. collecting pretty Boys- THOUGHT OF WAR leather emBellished hi-waist Bikini set and STATE OF MIND high waist metal emBellished Black Briefs, 2012, emma Boseley jacket/ chest piece & Black coat, HYPERBOLIC BEAUTY, 2012).
hair & make up: Bernice mansfiled
talent: katie-may, jack & sarah

Bonifacio street lamp, corsica, 2013
domestic pigeon, melBourne 2014
acephali fieldmouse, kandy. 2018
rock pigeon, singapore. 2017