Dancing With Their Whispers (2023)
NAFA Studio Theatre, Singapore

In collaboration with a street dancer, this work is significantly shaped by the site's (Bencoolen Street) geographical context and historical importance. Inspired by the experiences and journeys of Singapore's early inhabitants, the performance delves into themes of confession and departure, the interplay of past and present, individual experiences, and collective memories. As part of the performance, chosen members of the audience are presented with letters. Each letter served as a poignant textual embodiment of longing and farewell, similar to a heartfelt eulogy to a time gone by.

The Travellers in Paradise to Paradise (2019)
ArtBox (Kranji), Singapore

The Travellers in Paradise to Paradise questions the ideal, the beginning, the fantasy. Situated within a glass container, this collaborative performance by five female artists unfolds over two hours. Each domestic object is carefully chosen by the artist – a pair of Chinese clogs, woven sleeping mat, oriental birdcage, chair, and an old dictionary – as representative and symbolic of her individual and personal journey through life. Each artist deconstructs her object, poetically alluding to life and mortality.

Dream Market (2017)
OUTSIDER (Fashion Art Festival), Singapore

This presentation occurs in a former supermarket. Strangers are invited to stay close beside the performers and uncover stories and dreams of humanity, personal experiences and beliefs. This hypnotic work reveals the secrets of our subconscious and the hidden price of dreams.

混口饭 (2014)
Eminent Plaza, Singapore

混口饭 (which roughly translates ‘to earn a living’) addresses the livelihood of hostesses who once housed various night businesses inside the rooms of this soon-to-be abandoned commercial space. The artist collaborated with a dancer to craft this piece, with a spoonful of warm, white rice and a musical instrument that connects to the spiritual realm.

So You Think It’s Easy to Sleep/Talk and Walk? (2013)
NAFA Galleries 1 & 2, Singapore

The performance explores the concept of sleep, encompassing its simple pleasures, dreams, and grief within the unconscious. The performers share bedtime stories with gallery visitors, drawing from themes like love, a geisha's life, local Shakespearean tale, and music as a distinct language. This creates a hypnotic experience rooted in humanity, personal narratives, and individual beliefs.

Take Me Home (2010)
Undisclosed Territory #4, Padepokan Lemah Putih, Solo, Indonesia

In this durational performance, art (the artist’s presence) was brought to the streets and through the villages. With the artist standing on a lorry throughout the performance, the work invites the audience to wonder and wander with the art.

I M Migrating (2010)
Foi6 (Future of Imagination 6), Sculpture Square, Singapore

In this conceptual performance piece, ‘I M Migrating’ questions the notion of one’s ‘home’ in contemporary context. The (old) church, as a site-specific metaphor, is used as a universal platform to explore what ‘home’ is. A heavy metal chain is tied around the artist’s leg, coiling as the artist walks through the building in an attempt to uproot one’s place. 

Area and Perimeter (2008)
Singapore Art Museum (Courtyard), Singapore

This performance is based on one’s body in relation to another body/environment, discovering personal boundaries that individuals establish that may not be as clearly defined or drawn.

The Questioning Room (2008)
IPA, Hildesheim, Germany

The Questioning Room is a site-specific performance-installation that took place in a church in Hildesheim, Germany. 101 questions were prepared by the artist and brought to the 'altar'. In the presence of the priest’s chair, the artist questioned the fundamentals of one's spiritual beliefs and values set against social and political systems. Viewers stood on the upper level of the church, witnessing the trial in darkness.

The Questioning Room #2 (2008)
Foi5 (Future of Imagination 5), Sculpture Square, Singapore

This particular performance takes form of a gestural ritual-like state, questioning the contradiction between sex and love.

The audience experienced (dis)comfort as they observed the performance through the windows, akin to voyeurs witnessing an intimate scene. The two female bodies' rocking motions conveyed hints of power dynamics and struggle as their bodies unveil a hint of queer sexuality.

The Questioning Room #3 (2008)
Asiatopia, Bangkok Arts Centre, Bangkok

In this site-specific durational collaboration, one participant asks, "Do you love me?" while the other responds by examining love's actions. They both navigate the escalator, one against the flow and the other following, aiming to find a neutral ground for dialogue. This dynamic can represent power struggles in different relationships, including master-disciple, parent-child, lovers, society-self, etc. The performance ends when one of them grows weary from the constant questioning.

Home: a broad question (2008)
Performer Stammtisch, Berlin, Germany

In preparation for this performance, 102 questions were posed and prepared by the artist, and brought to Berlin. The audience had a chance to 'answer' and ‘respond’ to these questions in privacy. Then sealed in an envelope, the questions (of which are the answers) were brought back to Singapore for an open-letter-'reading' performance planned for the future.

Home: Video

People are always afraid of the unknown, not realizing that progress and creativity in society can only come from breaking boundaries (2006)
“Fetter Field”, Esplanade (Forecourt), Singapore

In this debut performance within a prestigious art institution, the intersection of art and identity is explored. They lay out an extended "red carpet" from the steps to the Esplanade entrance, using red to symbolize societal significance and traditional values. The act of taking three steps forward and two steps back symbolizes a critical reevaluation of our cultural progress, marked by intermittent, binary decisions that may have influenced a nation's social development. The performance also reflects the artist's aspiration for heightened awareness in the arts and a commitment to certain values. This site-specific walk culminates at the entrance, marked by a sliding door