The Factory is an ongoing series that aim to showcase data and statistics related to the production of dairy milk interpreted thru still life. The artistic methodology behind this series is to illustrate a food-related agenda we consumers are experiencing while being paired up with a matching spatial environment as companions.  This series investigates the dairy milk industry by translating data and statistics about how much this commodity is produced, processed, consumed and wasted. To further illustrate this food issue, this series is shot on location at the UNESCO heritage site - The Van Nelle Factory in Rotterdam, the Netherlands. The background is chosen for its stunning and distinctive modernistic spatial interiors and its visual connection to a mass-production setting.

Photo 1,  The Boiler hall - indicates how much and what dairy milk is processed into in the Netherlands (55% into cheese, 16% processed food, 14% milk powder, 7% milk, 6% condensed milk and 2% as butter)

Photo 2, The Switchroom - indicates the global consumption of cheese (with EU leading at 9k metric tons followed by USA, Russia, Brazil, Mexico & Canada)

Photo 3, The Bridge - indicates the EU production of dairy milk  (with Germany leading at 35%, France 27%, the Netherlands 16%, Italy 13% and Spain/Ireland 8%)

Photo 4, The Tearoom - indicates the type of food waste in the Netherlands (Bread most wasted at 33%, dairy goods 23%, vegetables 17%, fruits 14% and potatoes at 13%)

Photo 5, The Cafe - indicates the global consumption of dairy milk (with India leading at 81k metric tons followed by EU, USA, China and Brazil)

All data are taken from the year 2019

The Factory

Breaking away from the traditional tabletop still life, the Greenhouse is a double triptych showcasing the construction of a new terrain. This approach flaunts with the notion of playful patterns, multiplied dimensions and a compulsory wit, resulting in refreshing examples of eccentric spatial visuals that speak more than it is revealing. 

This series spearheads the principle of supporting local entrepreneurs to advocate sustainability as much as possible.  It showcases our support to our local Rotterdam's restaurants favourite eats during COVID19's lockdown when businesses face forced closure and near bankruptcy. Pairing with the food items are products from local designers.  The location, Stadskwekerij De Kas, (The city greenhouse) is a self-sustained community greenhouse run by a small team of dedicated green thinkers. 

The Greenhouse

Brexit has surprised us many. Countless daunting and irrational development that doesn’t seem to add up, especially on the dining table. For a sweet tooth union liked the UK, the reliance list on their neighbours’ supplies for its scarcity is lengthy. More than half of the UK’s consumption of summer soft fruits are imported. Of which a loyal stockpile is purchased from The Netherlands. With the introduction of Brexit, these short shelf lives berries’ journey across the Channel from the lowlands has become complicated. While pre-Brexit custom-free mobility proves effortless and straightforward, the freshness and short shelf life of such summer fruits are now challenged by newly introduced paperwork, trucks filed in confused beelines at Calais and the eventual inflating prices raiding consumers’ wallets. It is sadly an act to jeopardize a country’s needs and food culture.

The Gentlemen’s House is an artistic attempt to illustrate a food-related agenda we consumers are experiencing, paired up with a matching spatial environment as companions. In this series, portray as the domestic backdrop, the visuals are captured in the handsome modernistic manor house, Huis van Ravesteyn, in Utrecht, The Netherlands. I intervened ‘The Gentlemen’s House’ with an open explorer’s mind, by inserting the narrative of Brexit’s repercussions while highlighting the articulated features of the house.

The Gentlemen's House

TRANSIENT
QUIETNESS AND TRUST
POPSTACLES
5x5 RULE
THE DEN OF A LION
WADING
CUL-DE-SAC
POWER PLAY
OUT OR BALANCE
THE GREAT TREPIDATION

2020
Archival Pigment Print
42.0 x 29.7 cm

Archival Pigment Print Series

SCOPE (Triptych)
2017
Charcoal on three canvases
540 x 180 cm

SCOPE (Triptych)

ASSEMBLY
2016
Medium-density fibreboard, fabric, leather, drywall screws, bolts and nuts
Dimensions variable

SUMMON
UNTAPPED
PHANTOM
2016
Animated video
01:00 minute (Looped)
29 cm x 22.6 cm (Screen size)

COURTROOM
2016
Charcoal & acrylic on canvas
125 x 168 cm

BEWITCHED
2016
Charcoal & acrylic on canvas
125 x 168 cm

At Source 2

HARMONY
2017
Fabric
Dimensions variable

STRONG
2017
Mirror, inflatable bed, punching bag, fabric, sledgehammer
Dimensions variable

Every move you make, installation view, Institute of Contemporary Arts Singapore, LASALLE College of the Arts, 2017. Photo: Geraldine Kang

Every move you make exhibition

DUMB
DWELLER
SHIT-STIRRER
PROBLEM SOLVER
MISCOMMUNICATOR
INDIAN CHIEF
2015
Animated video
01:00 minute (Looped)
29 x 22.6 cm (Screen size)

SOURCE I
SOURCE II
SOURCE III
2015
Charcoal & ink on canvas
160 x 250 cm

STEER!
2015
Cushion, fabric, leather shoes and wood
Dimensions variable

At Source

CELLS
2014
Ink on paper
42 x 29.7 cm

DISEASE
2014
Ink on paper
42 x 29.7 cm

NOSE BLOCK
2014
Ink on paper
42 x 29.7 cm

EVERY BREATH YOU TAKE
2014
Ink on paper
42 x 29.7 cm

ORGANIC
2014
Ink on paper
42 x 29.7 cm

PARADISE
2014
Ink on paper
42 x 29.7 cm



Incubation

Return
2019
Single channel video, colour, audio
Duration: 5 min 57 sec
​

It was about a journey going home. I walked across the yellow line and stepped out of the West Kowloon station. I was wet through due to the muggy and hot weather. The nightscape of Hong Kong outside the bus window was fascinating even an industrial area. Different news came from my phone. The colour of yellow was very vivid in the dark and the voice from the crowd was so loud. Afterwards, I looked at the nightscape again. Lots people has returned home.



Return

Originally birthed from playing with the concept of the Molecular Music Box by Dr Duncan Lockerby (University of Warwick), the piece slowly developed into a glitch piece with inspirations dravwn from Autechre.
The visual aesthetic was developed long before the music but only really started to take its form with the different musical elements. This piece was composed together with musicians Farid Sapuan and Gunahlan Subas.
Using angles as the focal point, the algorithms generate labyrinthine shapes and patterns based on frequency, tempo and amplitude in real-time.


AMON || 4E4

TL_07 pays tribute to one of computer art’s earliest creators, Frieder Nake. This simple algorithmic drawing can be traced back to the very beginning of computer art.

From the current point, draw a randomly chosen edge (direction and length) within an established boundary.

AMON || TL_07

TL_06 draws influences from ambient music with its focus on density and textures. The piece was conceptualised after I had a discussion with visual artist, Lillevan on how he used non-diegetic visuals in ambient pieces.
The idea of noise() in Processing is basically a sequence generator that produces a “harmonic succession of numbers” compared to that of random(). Ken Perlin who developed noise in the 1980s often created life-like organisms in his applications. This idea of life-like organisms was also developed in Processing by visual artist, Raven Kwok’s “Algorithmic Creatures” series. This inspired me to create my own “algorithmic creature”.
This piece illustrates the life cycle of my creature.

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