kita was the final work as part of my artist residency at National Gallery Singapore, delving into personal heritage and finding new ways of presenting resonances (pre-conceived, within me, in space, surprising).

With feedback-generating instruments made of Jelutong wood, a native SEA species that I see as as observational pillar of time, I sought to bring forward its past existence into something new.

The intention was to create a piece that was not just front-facing but spherical in height and experience, and I took first steps into set-design and built in aspects of improvisation, humour, resonating in and with a building, coupled with a collaborative spirit and humanity that came even before the first note was played.

kami, kamu was a commisioned work as part of my residency at National Gallery Singapore, that began as a vision of activating a live performance space in different ways – having the architecture of a building be the stage, and to resonate it excitably.

I also experimented with audience participation, curating a flow of time that was stable enough to lend itself to surprising and heartwarming outcomes, enabling a sense of choice and transference of the performer-audience relationship dynamic.

a tree through time was a work of music and movement that responded to the gazes, abstractions of culture and intermingling of myth and reality in S.Sudjojono’s artwork. It brought these elements into a different time and place in history, including the creation of feedback-generating instruments from Jelutong wood and using these in conversation with elements of the performance space, and the artists’ selves.

The performance was a reflection on what it means to observe, listen and perceive our inner and outer worlds, and expressed through voice, electronics, oud, guitar and body history.

This was my first ever released track as an artist. A guitar-driven song that was written in a headspace of limbo, confusion and hope. I had a lot of fun recording everything and mixing it, and the track features two of my dear friends on drums (Matt Raham) and bass (Luqman Hakim).

Unsound Bodies is a collective of sound and movement artists. It began as an experiment in understanding improvisational languages in space, exploring the different ways that multidisciplinary elements can work together.

This was a band I formed and wrote/arranged music for as part of a street dance competition. We played live while contestants battled it out on the dance-floor, with the music having a lovely mix of arrangements and organic improv in response to the movement and energy of the dancers.

This was a work performed at Esplanade, involving interdisciplinary elements of poetry, music and voice. We played with the spaces between structure and improvisation, and created the work based on this fluid space of uncertainty.