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.
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.
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.
Exploring how painting transforms psychological distance into the language of urban emotion.
An essay exploring the use of non-human metaphors in literature to illuminate psychology and my painting practice.
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.
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.
An exploration of how technology, climate change, urbanization, and media reshape human-animal relationships, ethical responsibilities, and societal roles toward animals and the environment.
This reflection on painting reexamines the process of observation as an active form of interaction. It is supported by theories on perception, Art Therapy, and raises an inquiry on the categorical distinctions between symbolic dialogue and social practice.
This essay reflects my research on encountering landscapes, creating an environment for meditative calm and the idea of sublime.
The essay traces my artistic evolution from realistic painting under socialist realism to a quest for artistic freedom and primarily explores the possibility of transcending the constraints of national ideology in my personal landscape paintings, aiming for self-expression. It also critically analyzes and attempts to philosophically position my painting practice based on Adorno aesthetic theories.
This essay explores the stories of wives eclipsed from history. Documenting how using feminist historiography and storytelling within my practice can make these absent lives visible and provide us with alternative histories.
Tom is a neo-expressionist painter based in London studying an MA in painting at UAL: Camberwell. In Tom’s essay he will discuss the political economy of the modern art market.
These podcasts reflect my recent collaboration with Women of the NHS. This podcast is all about celebrating and collaborating with Women of the NHS, from a variety of backgrounds and roles within the NHS. I am excited to be interviewing and working with Women in various stages of their careers and across different sectors of the NHS.
An essay analysing the concept of the past, nostalgia and memory.
An essay discussing three-dimensional work created under the influence of Donald Judd’s ‘Specific Objects’.
A self-interview about my research and practice in reconstructing witches under a feminist context. Here I will discuss artists, poetry, films, operas, dances and podcasts that influenced me.
An essay discussing about the game. When games are not only just screen activities for enjoyment. Point out new context that games can take. Connect people with a sense of home.
An essay analysing the role of spirituality and poetry in my own painting practice and other artists’ works.
Video essay discussing the development of my practice through research, with personal footage filmed in Iran and documentation of my painting practice.
This essay, in the tone of a practice report, outlines the author’s artistic practice during the MA, discussing how painting was used as a weapon to resist the late capitalist, consumer, image-infested era.
This article discusses the history of object returns, and how painting, as an object both shaped and participating in the shaping of the creator’s actions, becomes a visual representation of the tension between subject and object.
For some people, objects are always given some special meaning. These objects can be people’s friends, can be a container that hold people’s memories, or can be a symbol that represent someone.
This essay highlights different approaches to translate the body into the digital space and reflects on how this affects our understanding of this body.
Taking “bad painting” as the phenomenon, this paper probes into my artistic methodology.