Works
Katawang Tahanan, 2025
Katawang Tahanan (Body-House) explores the parallels between body and house as structures of skin and breath, vessels that shelter memory and bear the trace of all that pass through them. The body is both inhabitant and foundation—a site of construction, collapse, and quiet transformation.
A meditative act of construction, it echoes how we build identities, homes, and meanings around ourselves—layer by fragile layer—only to confront their impermanence. The house, like the ego, is temporary. What shelters can also confine. What protects may eventually fall apart.
Katawang Tahanan reflects on the illusion of form, the fragility of selfhood, and the quiet violence of letting go. As the walls fall, the body is revealed—not as separate from the structure, but as the very space from which it rose, and to which it will return.
Performed for the Studio Plesungan Artist in Residency.
Paglaho Sa Anyo, 2025
Paglaho Sa Anyo, translating to “to dissolve from form,” intertwines body, object, and environment. Objects become vessels of memory and transformation, and ego dissolution emerges—not as an erasure, but as a becoming.
Through performance activation, the self merges with space, where boundaries blur, dissolve, and reconfigure. By embedding, obscuring, and revealing, the work invites viewers into a continuous unraveling—a perpetual reconfiguration of self, a presence within absence.
Lakbay, 2025
‘Lakbay,’ translating to “Journey” in Tagalog, serves as a continuation of her work, Muni-muni. This piece reflected on my experience of leaving my childhood home in the Philippines and moving to Singapore. Displacement is explored not only as a physical uprooting but as a redefinition of identity through objects stripped of their original attachments.
The selection, packaging, and shipping of these personal objects to Singapore was a process shared with my family, questioning place over long distances. Through this performance journey, Lakbay examines what it means to carry a home—the emotional weight of dislocation and the evolving relationship between self, place, and belonging.
Performed for Performative Practice Lab x Singapore Art Week 2025
Installation, Sound, Performance Video (10 minutes)
Muni-muni, 2024
'Muni-muni' is a site-specific mixed-media installation capturing concepts of identity, displacement, the mundane, and time. Translating to "reminiscing old times," it is inspired by my moving from my childhood home in the Philippines, investigating object-based, performance, and site-specific approaches.
Family members participate in the selection, packing, and freight of these personal objects to Singapore, questioning identity and place over long distances. In this piece, displacement becomes more than a physical uprooting—it becomes a catalyst for reflecting on and deconstructing the beliefs, identities, and narratives one holds without question.
Exhibited at Downsizing: Menjadi
An Excerpt
"The act of letting go, piece by piece, felt heavy and freeing all at once. I remembered the memories each object held. As it slowly disappeared beneath the white paint and into the space around it, I wondered: did its meaning stay with me? If I were to be stripped of everything external, would I vanish or would something deeper emerge? Who am I without the labels, roles, and attachments assigned by others, or even by myself?
Who are we when we are stripped of everything but the essence of being? Perhaps, like the spaces objects once occupied, the self is not left empty but expansive—an essence unbound."
I reminisce what once was,
Age-old memories stripped away.
A state of becoming,
Neither here nor there.
Who am I without the ‘I’ that was defined?
Limbo in SG, 2024
An interactive installation of performance relics intertwined with found objects.
Limbo, 2024
Homes from disparate geographies merge into a psychological space where memory and intimacy form the foundation of existence. Assembled with found objects rich in history, the space is in constant flux, mirroring the evolution of self and adapting to life's rhythm. This transitory journey of continual reconstruction embraces the discomfort of change and vulnerability.
Amidst the chaos of life's ever-changing landscape, solace is found in the stability of performing daily rituals—an assertion of ownership over the transient environment. Through the soundscapes of everyday life from the Philippines, Singapore, and London, the deconstructed home is imbued with familiarity and nostalgia.
Exhibited at NAFA x UAL
Installation, Sound, Performance (30 minutes). Images courtesy of Laydiio.
Transient Traces, 2023
A series of delicate paper cuts done by the Waterloo Ladies.
To invite the daylight of Waterloo to case temporary shadows of diverse interpretations of the streets, each inspired by witnessed totems to recreate Waterloo's everyday spectacle of life.
Exhibited at Subliminal Paradigms and Collective Activations: Waterloo Street for Singapore Art Week 2024
Komorebi, 2023
A resin light installation by the Subaky Collective.
To experience the beauty and wonder of the rays of light dappling through overhead leaves, casting dancing shadows and scattered light on the forest floor.
Exhibited at Stories of Care III,
a NAFA x Assisi Hospice Collaborative Project
To Cast Upon, 2022
Caught in a moment of light reflection, the past shadows behind her.
In a drawing workshop by Tan Chwee Seng, I used a wooden stick with acrylic paint and speedball to create a self-portrait. Depending on the medium, it created opaque or translucent harsh and soft lines. The paint on the clear acrylic sheet could be easily removed, creating an impermanent work.
Exhibited at the NAFA Atelier Showcase
Acrylic and Speedball Ink on Acrylic Sheet
90 x 45 cm
Washed Dreams, 2022
Dreams wash over us like a wave of calm. It is not just a sanctuary for possibilities, but also a miracle that it does not completely consume us.
Exhibited at Escape To:, School of the Arts (SOTA)
Print on paper
30 x 42cm