Echoform
Echoform
Year 2025
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In 2025, I committed to myself to overhaul my artistic style which I called EchoForm, a depart from pure abstraction . Echoform is a suspended moment when action is almost taken but not yet resolved. Through my past work involving "Superposition" (press button below to view series), I layered multiple images of figures and gestures that exist in several possible states at once — raised and lowered, speaking and silenced, stepping forward yet holding back.
Hands, mouths, and legs appear as recognisable but incomplete presences, marking the threshold of action. These partial anatomies carry intention but remain suspended, undecided. Entwined with them are hybrids of insect and botanical life, morphing between instinct and growth, impulse and endurance.
By layering pigment and repeated contours, I build a surface that behaves like living strata — part synthetic geology, part biological metamorphosis. The result is not a fixed image but a resonant system where forms echo, overlap, and hesitate, embodying both the pressure to act and the haunting of what remains unchosen.
Click on button above to view "Superposition" series
Click on button above to view "Superposition" series
Bidasari ate her fish
2025
142cm by 142cm
acrylic on canvas
Shortlisted for UOB painting of the year 2025
Bidasari Ate Her Fish reimagines the Southeast Asian legend of Bidasari, whose life force was hidden inside a fish, leaving her vulnerable to those who controlled it. In my version, Bidasari eats the fish, reclaiming control over the very object on which her life depends.
The work was created in response to the abuse and death of domestic worker Piang Ngaih Don in Singapore. Rather than illustrating her story directly, I used the legend of Bidasari to reflect on vulnerability, control and the desire for agency when a person's fate is placed in the hands of others.
United nation security council digital hesitation
2025
142cm by 142cm
Acrylic on canvas
Digital Hesitation — United Nations Security Council examines the moment before a decision becomes an action. Raised and lowered hands, restrained gestures and obscured mouths represent the competing choices, hesitation and consequences surrounding collective decision-making.
The work considers the distance between having the power to act and choosing whether to exercise it. Within the setting of the Security Council, a seemingly simple gesture of the hand can carry consequences far beyond the room in which the decision is made.
Hong kong 2019-2020 digital hesitation
2025
142cm by 42cm
acrylic on canvas
Digital Hesitation — Hong Kong 2019 responds to images of confrontation during the 2019 Hong Kong protests, where actions unfolded in front of countless phones and cameras. The painting focuses on the moment when being watched and recorded becomes another factor between impulse and action.
Layered positions suggest several possible movements existing before one is carried out. The work considers how digital observation can alter behaviour, creating a moment of heightened self-awareness in which an action may be recorded, circulated and judged far beyond the place where it occurred.
Cinderella and her gun
2024
142cm by142cm
acrylic on canvas
Cinderella and Her Gun was an early attempt to depict a domestic worker taking control of her life after experiencing abuse. The work explores a shift from vulnerability towards resistance and personal agency.
It also became an important step in the development of my later painting, Bidasari Ate Her Fish. At this stage, my use of dashed lines was still relatively simple and had not yet developed into the more complex overlapping movements and multiple possible actions that later appeared in Bidasari.
Looking back, Cinderella and Her Gun can be seen as a transitional work. It introduced my interest in using familiar female figures and stories to explore control, suffering and the possibility of reclaiming agency, while also showing the early development of the visual language that would later become part of my Echo Form approach.
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