Kitchen Drawer    

2024   

Grandfather’s kitchen drawer, ceramic     

24.5” x 12.5” x 4.5”

Moquette faite au Canada

2024

Grandfather’s carpet, ceramic

50” x 20” x 9”

Pendants through the kitchen chair

2024   

Grandfather’s wooden chair, ceramic, jewellery thread

12’ x 17.5” x 17.5”

Joy Luck Club

2024

The Joy Luck Club Book by Amy Tan, ceramic

10” x 10”, oil on canvas

60” x 48” x 2”

Oil on Canvas

My artistic practice challenges and reclaims stereotypes of Chinese women and their sexuality by interrogating fetishism fuelled by the gaze. This is supplemented by an investigation into diasporic culture. Oil paintings and organic matter sculpture - rooted in identity, help redefine visions of postcolonialism, through the confrontation of victimization with an unwavering stare - defiant and unafraid.

The translation and imitation of the patterns on porcelain have been recreated on the surface of biodegradable food products. Imitating memorialized designs hold a rich cultural history on organic objects which will change shape after a few weeks. Organic objects that represent bodies and hold imprints of distorted diasporas.

Like the Vanitas and Memento mori, these objects will eventually wither and rot, rejecting its polished beauty, and transforming into decay and disgust. Similarly, Caravaggio painted Basket of Fruit (1599) and Young Sick Bacchus (1593), sick bodies and rotting fruit, succumbed to worms and insects. At present, lemon, ginger, bok choy, bell pepper, and eggplant, have been gessoed and painted in acrylic, mimicking the patterns found on its porcelain counterparts.

The history of cross-cultural trade of ceramics and appropriation by the Dutch and other European rulers, led to chinoiserie becoming the popular fashion. Simultaneously migrants from these same cultures leave their homelands and build new diasporic futures in unfamiliar lands. Generations of lost connections informed the evolutions of these changes over time.

We are the fruit, grown and harvested from our ancestral vines, nourished by the water and sun of the resilient spirit that lives within us. My work, Defecating Deity, shamelessly excretes an intimate, vulnerable, and grotesque depiction of loss through sexuality and beauty, alongside the porcelain organic produce. Our bodies remain resilient, but have been transformed by the violence and effects of colonialism, withering with each generation to come, and depleting itself back into our colonial landfill.

My artistic practice challenges and reclaims stereotypes of Chinese women and their sexuality by interrogating fetishism fuelled by the gaze. This is supplemented by an investigation into diasporic culture. Oil paintings and organic matter sculpture - rooted in identity, help redefine visions of postcolonialism, through the confrontation of victimization with an unwavering stare - defiant and unafraid.

The translation and imitation of the patterns on porcelain have been recreated on the surface of biodegradable food products. Imitating memorialized designs hold a rich cultural history on organic objects which will change shape after a few weeks. Organic objects that represent bodies and hold imprints of distorted diasporas.

Like the Vanitas and Memento mori, these objects will eventually wither and rot, rejecting its polished beauty, and transforming into decay and disgust. Similarly, Caravaggio painted Basket of Fruit (1599) and Young Sick Bacchus (1593), sick bodies and rotting fruit, succumbed to worms and insects. At present, lemon, ginger, bok choy, bell pepper, and eggplant, have been gessoed and painted in acrylic, mimicking the patterns found on its porcelain counterparts.

The history of cross-cultural trade of ceramics and appropriation by the Dutch and other European rulers, led to chinoiserie becoming the popular fashion. Simultaneously migrants from these same cultures leave their homelands and build new diasporic futures in unfamiliar lands. Generations of lost connections informed the evolutions of these changes over time.

We are the fruit, grown and harvested from our ancestral vines, nourished by the water and sun of the resilient spirit that lives within us. My work, Defecating Deity, shamelessly excretes an intimate, vulnerable, and grotesque depiction of loss through sexuality and beauty, alongside the porcelain organic produce. Our bodies remain resilient, but have been transformed by the violence and effects of colonialism, withering with each generation to come, and depleting itself back into our colonial landfill.

My artistic practice challenges and reclaims stereotypes of Chinese women and their sexuality by interrogating fetishism fuelled by the gaze. This is supplemented by an investigation into diasporic culture. Oil paintings and organic matter sculpture - rooted in identity, help redefine visions of postcolonialism, through the confrontation of victimization with an unwavering stare - defiant and unafraid.

The translation and imitation of the patterns on porcelain have been recreated on the surface of biodegradable food products. Imitating memorialized designs hold a rich cultural history on organic objects which will change shape after a few weeks. Organic objects that represent bodies and hold imprints of distorted diasporas.

Like the Vanitas and Memento mori, these objects will eventually wither and rot, rejecting its polished beauty, and transforming into decay and disgust. Similarly, Caravaggio painted Basket of Fruit (1599) and Young Sick Bacchus (1593), sick bodies and rotting fruit, succumbed to worms and insects. At present, lemon, ginger, bok choy, bell pepper, and eggplant, have been gessoed and painted in acrylic, mimicking the patterns found on its porcelain counterparts.

The history of cross-cultural trade of ceramics and appropriation by the Dutch and other European rulers, led to chinoiserie becoming the popular fashion. Simultaneously migrants from these same cultures leave their homelands and build new diasporic futures in unfamiliar lands. Generations of lost connections informed the evolutions of these changes over time.

We are the fruit, grown and harvested from our ancestral vines, nourished by the water and sun of the resilient spirit that lives within us. My work, Defecating Deity, shamelessly excretes an intimate, vulnerable, and grotesque depiction of loss through sexuality and beauty, alongside the porcelain organic produce. Our bodies remain resilient, but have been transformed by the violence and effects of colonialism, withering with each generation to come, and depleting itself back into our colonial landfill.

Add Oil, 2021

oil and acrylic on canvas

24x24”

Acrylic on Ginger, next to original vessel

My artistic practice challenges and reclaims stereotypes of Chinese women and their sexuality by interrogating fetishism fuelled by the gaze. This is supplemented by an investigation into diasporic culture. Oil paintings and organic matter sculpture - rooted in identity, help redefine visions of postcolonialism, through the confrontation of victimization with an unwavering stare - defiant and unafraid.

The translation and imitation of the patterns on porcelain have been recreated on the surface of biodegradable food products. Imitating memorialized designs hold a rich cultural history on organic objects which will change shape after a few weeks. Organic objects that represent bodies and hold imprints of distorted diasporas.

Like the Vanitas and Memento mori, these objects will eventually wither and rot, rejecting its polished beauty, and transforming into decay and disgust. Similarly, Caravaggio painted Basket of Fruit (1599) and Young Sick Bacchus (1593), sick bodies and rotting fruit, succumbed to worms and insects. At present, lemon, ginger, bok choy, bell pepper, and eggplant, have been gessoed and painted in acrylic, mimicking the patterns found on its porcelain counterparts.

The history of cross-cultural trade of ceramics and appropriation by the Dutch and other European rulers, led to chinoiserie becoming the popular fashion. Simultaneously migrants from these same cultures leave their homelands and build new diasporic futures in unfamiliar lands. Generations of lost connections informed the evolutions of these changes over time.

We are the fruit, grown and harvested from our ancestral vines, nourished by the water and sun of the resilient spirit that lives within us. My work, Defecating Deity, shamelessly excretes an intimate, vulnerable, and grotesque depiction of loss through sexuality and beauty, alongside the porcelain organic produce. Our bodies remain resilient, but have been transformed by the violence and effects of colonialism, withering with each generation to come, and depleting itself back into our colonial landfill.

2018

Acrylic on Bok Choy, on original porcelain plate

My artistic practice challenges and reclaims stereotypes of Chinese women and their sexuality by interrogating fetishism fuelled by the gaze. This is supplemented by an investigation into diasporic culture. Oil paintings and organic matter sculpture - rooted in identity, help redefine visions of postcolonialism, through the confrontation of victimization with an unwavering stare - defiant and unafraid.

The translation and imitation of the patterns on porcelain have been recreated on the surface of biodegradable food products. Imitating memorialized designs hold a rich cultural history on organic objects which will change shape after a few weeks. Organic objects that represent bodies and hold imprints of distorted diasporas.

Like the Vanitas and Memento mori, these objects will eventually wither and rot, rejecting its polished beauty, and transforming into decay and disgust. Similarly, Caravaggio painted Basket of Fruit (1599) and Young Sick Bacchus (1593), sick bodies and rotting fruit, succumbed to worms and insects. At present, lemon, ginger, bok choy, bell pepper, and eggplant, have been gessoed and painted in acrylic, mimicking the patterns found on its porcelain counterparts.

The history of cross-cultural trade of ceramics and appropriation by the Dutch and other European rulers, led to chinoiserie becoming the popular fashion. Simultaneously migrants from these same cultures leave their homelands and build new diasporic futures in unfamiliar lands. Generations of lost connections informed the evolutions of these changes over time.

We are the fruit, grown and harvested from our ancestral vines, nourished by the water and sun of the resilient spirit that lives within us. My work, Defecating Deity, shamelessly excretes an intimate, vulnerable, and grotesque depiction of loss through sexuality and beauty, alongside the porcelain organic produce. Our bodies remain resilient, but have been transformed by the violence and effects of colonialism, withering with each generation to come, and depleting itself back into our colonial landfill.

Oil and Acrylic on canvas

Oakland Brown Berets and Black Panthers at the Alameda County Courthouse in Downtown Oakland in 1968 at a Free Huey Newton Rally.

Oil on frozen pizza cardboard

My artistic practice challenges and reclaims stereotypes of Chinese women and their sexuality by interrogating fetishism fuelled by the gaze. This is supplemented by an investigation into diasporic culture. Oil paintings and organic matter sculpture - rooted in identity, help redefine visions of postcolonialism, through the confrontation of victimization with an unwavering stare - defiant and unafraid.

The translation and imitation of the patterns on porcelain have been recreated on the surface of biodegradable food products. Imitating memorialized designs hold a rich cultural history on organic objects which will change shape after a few weeks. Organic objects that represent bodies and hold imprints of distorted diasporas.

Like the Vanitas and Memento mori, these objects will eventually wither and rot, rejecting its polished beauty, and transforming into decay and disgust. Similarly, Caravaggio painted Basket of Fruit (1599) and Young Sick Bacchus (1593), sick bodies and rotting fruit, succumbed to worms and insects. At present, lemon, ginger, bok choy, bell pepper, and eggplant, have been gessoed and painted in acrylic, mimicking the patterns found on its porcelain counterparts.

The history of cross-cultural trade of ceramics and appropriation by the Dutch and other European rulers, led to chinoiserie becoming the popular fashion. Simultaneously migrants from these same cultures leave their homelands and build new diasporic futures in unfamiliar lands. Generations of lost connections informed the evolutions of these changes over time.

We are the fruit, grown and harvested from our ancestral vines, nourished by the water and sun of the resilient spirit that lives within us. My work, Defecating Deity, shamelessly excretes an intimate, vulnerable, and grotesque depiction of loss through sexuality and beauty, alongside the porcelain organic produce. Our bodies remain resilient, but have been transformed by the violence and effects of colonialism, withering with each generation to come, and depleting itself back into our colonial landfill.

24” x 36”

2018

oil on canvas

3.5 x 4.5 ft

2018

24” x 36” oil on canvas

Calligraphy appropriated from my great-grandfather, Choi Bik Lam

2018

3’ x 4’, oil on canvas

2018

oil on canvas, currently in progress

2019

24” x 36”, oil on canvas

2018

2018

mixed media, 48” x 60” wood panel strainer

currently in progress

2018

collaged take-out boxes on wood panel later covered in the piece “Luck you”

2018

4’ x 4’, acrylic on canvas, gold gel medium piped with piping bag

Commission as a hanging wall piece for an active skateboarder

Collaborative chalk drawing. Japanese inspired tiger drawn for the "Chalk-off" competition at Unionville High School May 12, 2017

See "Reverence" for more info

First in a series of paintings that portray personal fears, Claustrophobia #1 depicts the idleness of fish in a space that does not allow freedom to move. Limited by it's barrier of glass and mind, the fish must endure a monotonous quiet of loneliness and emptiness. 

Second in its series of paintings that portray personal fears, Claustrophobia #2 depicts the crowding of fish in a space that does not allow freedom to move. Limited by it's barrier of glass and mind, the fish must endure a monotonous quietness, surrounded by others of its kind.