This video essay explores the city of London through the frames that shape how we see it, especially its windows.
Category: Issue 4: Metabolizer
Categories
Echoes of the Ancestral Land
This video work explores how my Indigenous identity intersects with my upbringing in the city. Through layered images, sound, and abstract visual rhythms, the piece investigates how memory and cultural distance can be reconstructed through moving image.
Two essays, one exploring the problems that have sprung from the commodification of art. The other dealing with arts relation to nature. Both trying to use a Marxist and Hegelian lens.
In this essay I reflect on my process and the thematic of home.
My creative practice has always revolved around one central question: how can emotion be expressed rather than merely represented? When I first began learning painting, I used to believe that expression meant the visualisation of emotion. This assumption is still visible in my earlier works. Whether abstract or figurative, all of them were guided by […]
This essay examines my position as someone in-between Bai culture—neither fully inside nor outside. Using Fei Xiaotong’s concept of “field,” I explore how this in-between state shapes my relationship with cultural identity.
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Emotional Support Shampoo
This video essay explores the depth of my practice, focusing on authenticity, everyday life as a source of reference, and the intimacy found in ordinary moments.
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Building My Own Haven
Exploring how painting transforms psychological distance into the language of urban emotion.
An essay examining how absurdity, as an artistic strategy, reawakens perception and reframes seeing and being seen in overlooked everyday actions.
An essay exploring the use of non-human metaphors in literature to illuminate psychology and my painting practice.
This essay explores the inbetween state through the domestic window grill, analyzing it as a paradoxical boundary, threshold, and portal to affirm liminal fluidity.
This text presents my reflection on my own painting experience, discussing what draws me in during the process of painting and why I resist excessive interpretation of my work.
A description of a haptic encounter with an object in a way which critically and imaginatively examines touch as an embodied and material process. Drawing on a material language from writers such as Derrida and Merleau-Ponty, touch is vividly defined as a fundamental hinge between us, the subject, and the objective world.
The essay explores how natural and digital “skins” act as responsive surfaces that store memory and shape interaction. Through installations that merge bark, skin and glitching textures, my practice explores slower, attentive forms of touch and the ethical relationships that arise when organic and technological rhythms meet.
An exploration of expanded painting. This essay examines how material agency, embodied perception, and chance operations transform painting into an ecological practice.
My writing explores explores how empty landscapes and moonlight create spaces for contemplating modern solitude and emotional connection.