Growing up in Hong Kong where everyone moves body-to-body, it was perhaps inevitable that I felt the pressure push me into flatness. Working atop the flat plane I could oversee every detail and every line; I was granted a control steadied by repetition, precision, and sequencing through printmaking. However, the control metastasized into an obsessive burnout that then found an outlet through multimedia - sculpture, video, and interactive installation. As a result, printmaking became the sketch, or rather, the ‘data input’ for what evolved as my own algorithmic practice: a cycle between control as release, release as control.

The generative processes of both analog and digital making-languages thus largely informs my art practice. More specifically, I have been investigating how the “grid” acts as their substrate e.g. on graph paper, as pixel, on maps as a paranoid, fickle facade of control. By translating between the two languages, how can we recognize the world’s natural affinity for entropy and disorder - despite manmade structures of organization - and thereby expand our understanding of universal ‘perfection’ to encompass the messy beauty of humanness?

Now, as the bounds between artist and machine coalesce, our relationship with what we create becomes simultaneously more intimate and more foreign. From investigating the design of microchips and their geopolitical significance, to architectures of manufacture and labor, and to the floorplan of my own childhood home, my practice is continuously evolving to understand print-as-body-as-machine, as modular yet united forms.​​

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