I make in order to think. My practice unfolds through acts of assemblage and improvisation — stacking, tying, reconfiguring what is already at hand. This bricoleur’s approach keeps the work provisional, responsive to its site, and open to change.

Impermanence is a recurring thread. I am drawn to structures and gestures that do not last: a tarp strung for shelter, branches piled like children at play, bells tied to a tree that echo the sound of prayer. Such forms embody both necessity and fragility, pointing to the transience that underlies lived environments.

My projects often take shape as installations, sculptural remnants, or durational actions. Works such as Many Waters to Cross (Singapore Biennale, 2019) and A Case of Ringing Bell (Yokohama Triennale, 2020) extend this exploration into maritime culture and vernacular construction. For Many Waters to Cross, I built and sail-tested a kolek boat, only to later cut it in half with a chainsaw — an act that was both a pragmatic solution to exhibition constraints and a gesture of closure, underscoring the impermanence at the heart of my practice.

Ultimately, my work is less about fixed objects than about gestures of making and unmaking — temporary structures that reframe how we inhabit and perceive our surroundings, each one a brief observation within the larger impermanence shaping life itself.