Open studios
19-20 Sep 2026
Things are still thirsty (exhibition)
19 Sep-7 Nov 2026
It is a joy to be hidden, and a disaster not to be found.
– D.W. Winnicott
Installation photos coming soon.
Argot
2026
Toner transfer on rice paper, calligraphic ink interventions
25 x 39 cm
This triptych marks a new direction in contemporary printmaking, fusing intimate portraiture with historical linguistics. The foundational imagery features photographs of a dominatrix friend of the artist. Layered with these portraits are calligraphic interventions in three distinct, historically significant languages created entirely by women: Láadan, a feminist language constructed in 1982 by linguist Suzette Haden Elgin; Nüshu, a secret script passed down among ethnic Yao women in Hunan, China; and Lingua Ignota, a mystical language invented by the 12th-century visionary Hildegard von Bingen. Together, these elements explore and celebrate the diverse, resilient ways women have constructed their own autonomous systems of communication and power throughout history.
Experiments in the process of printing the final editions of Argot will also be shown in the studio.
Made with the kind support of Il Bisonte Foundation for Art and Printmaking.
Tree Rings
2026
Digital capture on silver gelatin print
40 x 30 cm
Initially captured digitally on a smartphone, this evocative diptych is realized through traditional silver gelatin printing, bridging contemporary spontaneity with the permanence of classic black-and-white photography. The abstract imagery documents the stretch marks on the thighs of two long-term lovers on the precipice of a permanent separation. By framing these intimate bodily details as landscapes, the work reflects deeply on longing, memory, and transience. The patterns of the skin mirror the organic geometry of tree rings and lunar surfaces, suggesting that human emotional bonds leave physical traces that evolve across deep time.
Produced at Center Chrome.
Pilgrimage
2026
Silkscreen print of a photographic original on silk
29.7 x 42 cm
By sourcing silk from Prato and across Italy, the artist engages the region's historic textile traditions alongside its contemporary tensions, notably the local fast-fashion industry connected with Chinese immigration. This dynamic forms a poignant historical irony: silk, first cultivated in China, once offered radical economic independence to women in the Southern Guangdong region at the turn of the 20th century. Among them were the comb sisters, who swore celibacy through a ritual combing-up ceremony to work as domestic workers, eventually migrating across Singapore, Malaysia (what was then known as British Malaya), and Hong Kong. Many also formed the Golden Orchid Society, establishing their own autonomous cultures of courtship and contract marriage ceremonies between women.
On this silk surface is a photographic print derived from the artist’s archival research into women’s histories across Italy and ancient China. Her practice centres on figures who resisted patriarchal marriage structures to live by their own value systems. In the Italian context, these women frequently manifested as saints, nuns, and witches: figures who often faced state or religious violence and brutal martyrdom for their convictions.
The back layer of this silkscreen print features The Witch’s Oak (Quercia delle Streghe). Located in the village of Gragnano near Capannori, in the province of Lucca, this monumental 600-year-old oak is famously tied to local folklore as a meeting spot for witches' sabbaths and allegedly inspired the hanging scene in Pinocchio. While visiting this oak tree, the artist placed upon it an amulet of Mazu, the Chinese sea goddess and photographed the scene, documenting a meeting point between folklore, driven by the act of a pilgrimage.
The front layer features a recurring visual motif in this body of work in the form of the milkweed butterfly practicing Müllerian and Batesian mimicry, an East Asian evolutionary adaptation of survival through deception and imposter appearance. The artist encountered this specific species during a research visit to the German Girl Shrine in Singapore, integrating it here into her performance work, Godmother. The motif serves as a conceptual metaphor for the historical survival strategies forced upon women, whether subterfuge or martyrdom, while questioning the place of deep-seated conviction in a contemporary world that encourages its abandonment.
Made at Lottozero textile laboratories.
The Riverbank
2026
String curtain with paper
120 x 90 cm
This installation marks a continuation of the artist’s material exploration of the string curtain. First conceptualized for her 2025 installation The Moon is Wet at PalaisPopulaire in Berlin, this spatial device was adapted for the Villa Romana exhibition, In The Meantime, and continues to morph through the photographic imprint of The Witches’ Oak in Lucca. The viewer looks through the gaps in the string curtain to once again look at the gaps between the tree’s branches, symbolising a continual search for stories, meaning and truths.
Seen in the pictorial aesthetics of the Argot print series, the artist continues her material and aesthetic exploration of silver ancestor joss paper, used for burning to send to the afterlife in Chinese Taoist folk traditions. Through paper forms such as fortune tellers, often used as a childhood game, and ingots, used to send fortune to ancestors, she researches the possibility of paper as a sacred medium for communication across chasms.
Made with the production co-ordination of Silvana Yuxiao Zhao.
Home
2026
Projection
1 min
Dimensions variable
This looping video projection functions as a daily memento mori, documenting Singapore’s last Hakka cemetery located adjacent to the artist’s personal home. The work recontextualises cultural superstitions; while the site is traditionally avoided as a source of bad luck, its resulting economic stagnation uniquely enabled the artist to secure her home and establish a sense of safety. Bridging the gap between the living and the dead, the piece stems from an initial ritual where the artist sought the ancestors' blessings before inhabiting the space.
Filmed with the assistance of Jeremy Ho.
Sojourn
Performance with silk fibre
15 mins
Informed by Butoh and first initiated during a workshop by Yumiko Yashioka in Florence in early July, this movement sequence is performed as a meditation between the body and raw silk fibres, opening up affective forms of embodiment, vulnerability and tension.
Made in collaboration with Carla Luisa Patrizii, with music by Anise (Suhui Hee).
Silk fibres obtained with the assistance of Silvana Yuxiao Zhao.
The performance will take place in the evening of 19 September 2026.