SHOWS

IMAGE & PEACE (2024)

“Are my images contributing to peace?”

I cannot claim that I possess the influence to change the world. Yet, perhaps as a reflexive response to the increasing conflicts and subtle signs of anxiety that permeate everyday life, I have continued to connect this uncomfortable question of peace to my work. Unlike the time when I was doing projects in Africa, believing I could transform the world, I now see my practice as a way of organising and digesting my thoughts on peace, translating them into my own visual language. This exhibition fills the space through the live drawing format I have consistently worked with, sharing reflections on peace and the sense of powerlessness that accompanies it.

LET’S MEET AT HANTISTATION EXIT NUMBER 2 (2023)

“My partner asked, ‘If war breaks out, where should we meet?’”

“Let’s meet at Han-ti Station, Exit 2, the closest place to our home.”

In that ordinary exchange, I became aware that a place we had always considered mundane could suddenly transform into a shelter under threat. Through the media, scenes of war and conflict are transmitted in real time, accompanied by air-raid sirens resonating across distant cities.

This exhibition is situated within that fragile balance—an invitation to reconsider the meaning of peace within the spaces and routines we once believed to be ordinary.

‘Special thanks to Sheung Yiu and Samra Šabanović for generously taking the time to be interviewed and for engaging in a deep conversation with me, expanding the perspective on how images intersect with matters of conflict.’

BORDERLESS (2023)

“If I were a bird, I could fly anywhere and see you every day.”

Watching birds cross the sky, I often found myself thinking about freedom. They seemed to move beyond the physical limitations that bind human bodies, crossing borders with ease, as if untouched by the invisible lines we draw across the earth. In their flight, I projected a hope that something might exist beyond the limits of territory, law, and nation.

Yet not all crossings are celebrated. For certain species, crossing a border can mean becoming an illegal subject to capture or death under human legal systems. Here, the frameworks we construct to regulate ourselves extend into the realm of nature, transforming what once symbolised freedom into something vulnerable and threatened.

This exhibition begins with the metaphor that “birds are free,” and gently unsettles it. It turns toward those who live within, against, or at the edges of systems that constrain them, individuals who move, linger, or simply exist under structures not of their own making. Through this lens, the bird becomes less a symbol of boundless liberty and more a figure navigating the fragile tension between movement and control.

TO THE MOON (2022)

“Why do we long to reach the moon?”

Across centuries and cultures, the moon has been a subject of myth and scientific inquiry. In the twentieth century, humans finally set foot upon its surface. Unlike the sun, which we cannot even look at with the naked eye, the moon has always remained within our sight. It lights our nights from a distance that feels almost within reach, quietly keeping us company. Perhaps it is precisely because it has always been there that we have longed to touch it.

Today, the frenzy surrounding cryptocurrency, encapsulated in the meme “To the Moon”, reveals another form of that same desire. A resource that anyone can buy or sell, that can be “mined” as if digging into the ground, volatile yet seemingly capable of infinite expansion. It appeared to promise an escape from existing orders and finite resources. The moon was no longer a myth, but a metaphor for opportunity.

Some or many boarded the spacecraft ourselves, heading toward that moon we had once only gazed at from afar, hoping for open possibility, boundless expansion, freedom from gravity.

Yet the question remains.
If we could only reach the moon in the end, what would we truly gain?