Self, 2025
Crocheted and melted nylon, broken kendi vessel
21cmL x 21cmW x 32cmH

Qiān Jīn: Yi 乙, 2024
Crocheted and melted nylon
52cmH x 20cmW
This vase is part of the installation Qiān Jīn, featuring 4 vases inspired by ceramic glaze and the willow-leaf shaped vase. They are named after the first 4 of 10 Celestial Stems, the ancient Chinese ordinal system.

This vase features an openwork pattern, inspired by those found in celadon ceramics.

Studio photography: Clarence Aw

Qiān Jīn: Jia, 2024
Crocheted and melted nylon
52cmH x 20cmW
This vase is part of the installation Qiān Jīn, featuring 4 vases inspired by ceramic glaze and the willow-leaf shaped vase. They are named after the first 4 of 10 Celestial Stems, the ancient Chinese ordinal system.

The original willow-leaf vases in ancient China were often plain, with a focus on their elegant shape and beautiful glaze colour. This vase has only slight textures on its base and neck, to bring attention to the different reds blooming on its surface.

Studio photography: Clarence Aw

Qiān Jīn: Bing 丙, 2024
Crocheted and melted nylon
56cmH x 25cmW
This vase is part of the installation Qiān Jīn, featuring 4 vases inspired by ceramic glaze and the willow-leaf shaped vase. They are named after the first 4 of 10 Celestial Stems, the ancient Chinese ordinal system.

Creating an impression of stacked layers, the number of stitches in each horizontal row is counted and manipulated to form ‘diamond’ line ‘patterns’ on the surface.

Studio photography: Clarence Aw

Qiān Jīn: Ding 丁, 2024
Crocheted and melted nylon
56cmH x 20cmW
This vase is part of the installation Qiān Jīn, featuring 4 vases inspired by ceramic glaze and the willow-leaf shaped vase. They are named after the first 4 of 10 Celestial Stems, the ancient Chinese ordinal system.

Inspired by relief patterns on Chinese vases, this vase employs a simple cable pattern, similar to those found on knitted garments.

Studio photography: Clarence Aw

かげ Kage, 2024
Crocheted nylon and wool, broken kawara tile
32cmL x 17cmW x 35cmH

In Japanese, ‘Kage’ can be read as 「影」or 「陰」. Meaning ‘shadow’ or ‘yin’ (in yin-yang) respectively, it hints at an ‘other’ self that always exists within a whole. This vessel (inspired by amphoras with its pointed base) is joined to an extension of itself, hidden or warped when viewed from the side, just like our shadow on different surfaces. Looking at the wall on the left, the shadow appears as that of a regular vase.

100, 2023
Crocheted silk noil and wool, soil from Cognac
18cmL x 18cmW x 40cmH
Commissioned by LOUIS XIII as a multi-media artwork, presented with video

This sculpture is the culmination of 100 transformations. The same yarn used to crochet the 100 iterations before this sculpture takes on character and age over time, the multiple unravellings resulting in the painted portions of yarn spreading out from the core of the sculpture. The paint ‘marks’ certain stitches, and we see where it has travelled away from the stitches beside it, or reunite with them again in different iterations. This reminds me of chance encounters with seemingly random people in our lives.

Linked, 2024
Crocheted ramie dyed with shulang (薯榔), woven shell ginger (月桃)
20cmL x 7cmW x 35cmH

Created during my Art Ripple Taitung residency with Abus Bunun Traditional Weaving Workshop

‘Linked’ is an exploration of breaking and rejoining. Even when the form splits in two, it ultimately joins back into the same one sculpture seamlessly, giving the impression that the holes have worn through the middle as they do in coastal rock formations. The two separate materials seem to have grown around each other with time.

This work was inspired by how Austronesian people still share common roots, despite having walked down different paths and becoming separated by distance and language.

Dignified, 2022
Crocheted and melted nylon
50cmH x 25cmW, Base: 100cmD
From the Unbecoming series, featuring prints and film

Named 'Pompous' before it goes through the melting process, this vase becomes 'Dignified' as the image it creates for itself- symbolised by the outer layer- melts away, revealing an inner core. Embracing its history and true inner being, becoming proud of who it has become- 'Dignified' represents growth and self-esteem.

The silhouette of the vase was inspired by the Korean Maebyeong (plum vase) of the Goryeo dynasty, while the gradient effect created by switching solid yarn colours was inspired by the celadon glaze so sought after in the 10th and 11th century.

Photography by Clarence Aw

Committed, 2022
Crocheted and melted nylon
40cmH x 27cmW, Base: 50cmL x 35cmW
From the Unbecoming series, featuring prints and film

These vases were crocheted separately and then torched by a flame. Intending them to ‘hug’ when the nylon melted and fused, the organic forms were made to lean into each other. Instead, the 2 vases started pulling away from each other with the heat.

Slowly, unexpectedly, one leaned forward, and the other back, looking almost like a pair of lovers tilting imperceptibly as they move into a hug.

Named ‘Clingy’ before the melting process, these 2 organically-shaped vases do end up fusing together in the end, after their romantic dance with the flame- turning into ‘Committed’.

Photography by Clarence Aw

Carefree, 2022
Crocheted and melted nylon
44cmH x 19cmW, Base: 70cmD
From the Unbecoming series, featuring prints and film

Named ‘Frivolous’ before the melting process, this vase seems almost architectural with the strong lines. The excessive folds represent a stubborn desire to be as one pleases, which might be seen as vanity (frivolous), or unapologetic individualism (carefree).

Photography by Clarence Aw

Steadfast, 2022
Crocheted and melted nylon
44cmH x 30cmW, Base: 60cmW x 70cmL
From the Unbecoming series, featuring prints and film

Aptly-named ‘Stubborn’ before the melting process, this anthropomorphic vase could embody both a positive or negative quality; ‘Steadfastness’ can easily be seen as ‘Stubborness’ from a different perspective.

The hole in its shoulder seems almost like a battle wound; a gaping void.

Photography by Clarence Aw

Demure, 2022
Crocheted and melted nylon
42cmH x 21cmW, Base: 96cmD
From the Unbecoming series, featuring prints and film

With its elegant, long neck and textural openwork, Demure is almost reminiscent of Nefertiti; a symbol of feminine strength.

Named ‘Aloof’ before the melting process, this vase could seem distant; yet it could be because it exudes an air of coyness. The doily for this piece features a lot of open work, resulting in a sensual, lace-like effect. After melting, the vase tips to the side, almost as if it was shying away from something; someone.

Photography by Clarence Aw

Vessels of Time, 2021
Crocheted handspun calendar yarn
Set of 3 sculptures

Small: 22cmD x 26cmH
Medium: 28cmL x 12cmW x 30cmH
Large: 17cmW x 42cmH

The yarn was spun out of paper from tear-away calendars, a traditional item in Singapore that is coloured in red and green. These passed days were stripped and spun, held together only by twist. This was first used in the project Fort of Leaves in 2019, then repurposed again into these vessels. Unlike my other nylon vessels, these are slowly crumbling away with the passing of time, as natural fibres do.

Time is a Commodity, 2021
Crocheted nylon yarn
Set of 3 sculptures
Yellow: 13cmW x 23.5cmH x 13cmD,
base: 29cmD x 10cmH

Black: 24cmW x 11cmL x 30cmH,
base: 25cmL x 21cmW

Blue: 15.5cmW x 14cmH x 15.5mmD,
base: 24cmL x 20cmW

First exhibited in Singapore at Art Encounters 2021