Oil on panel board, 30cm x 30cm

In today’s world, wherein the global population has just endured a deadly pandemic, and watches now in horror as war rages in Ukraine, it is natural to feel small and helpless. A common habit that developed during COVID was to ‘doomscroll’, to read endlessly disturbing news articles about world events, and to feel frozen with fear, like nothing we do as individuals matters.

Our Eyes Are Watching God engages with this darkness and sees light. Through prayer, and a desire for peace (symbolized by the dove and olive branch), we transform passivity into action. Our hope is that, just as it happened to Noah after the flood, a rainbow will appear (also within the eye); a sign that the human family will be united in joy once more.

The title of the artwork references Zora Neal Hurston’s novel, Their Eyes Were Watching God, in which her characters “seemed to be staring at the dark,” resigned to whatever fate nature has in store for them. But because “their eyes were watching God”, they look instead – with hope in their hearts – to God for salvation.

Oil and acrylic on canvas, 150cm x 90cm x 2

Sweet Love is a vibrant diptych inspired by the iconic Tan Teng Niah House in Little India. The title pays homage to Tan Teng Niah himself, a businessman known for his sweet-making factories, an origin that adds a playful layer to the work.

In these paintings, the building’s famously colourful façade is rendered in a loose, painterly style, bursting with energy and cultural pride. In contrast, the window panels reveal black-and-white figurative scenes of couples entwined, painted with a more traditional and realistic technique. This juxtaposition creates a visual and conceptual tension: the lively exterior of heritage and celebration set against intimate, hidden moments of human connection.

Commissioned by a client seeking a nod to their Indian heritage while embracing something bold and fun, Sweet Love merges architectural nostalgia with my love for figure painting and turning a cherished landmark into a playful exploration of desire, history, and identity.

Oil on panel board, 30cm x 30cm

"An Artist's Anxiety" is a painting that illustrates the emotional distress experienced by an artist (me) with social anxiety. The artwork depicts a wall with a small hole, through which we can see the artist's eye watching the busy crowd. The artist is hiding from social interaction, preferring to observe from a distance to feel safe and at ease. The use of dark and muted colours creates a somber and introspective mood, emphasising the artist's inner turmoil. This artwork highlights the psychological struggles faced by individuals with social anxiety and reminds us of the importance of empathy, understanding, and acceptance towards those who may be struggling with mental health issues.

Oil on canvas, 120cm x 90cm

This oil painting captures a tender yet thought-provoking moment of rest between two generations—my father and my niece. My father, visibly exhausted by life’s burdens, reclines on a worn leather couch, his face frozen in a mid-yawn, while his phone rings with a call from my mother—an ever-present reminder of the demands of modern life. In contrast, my niece sleeps peacefully, unbothered by the world around her, a book lying open beside her.

This work is a commentary on the evolving nature of stress and rest. As we age, responsibilities and the ever-intrusive presence of technology weigh heavily on us, leaving little room for true relaxation. Meanwhile, childhood remains a sanctuary of unburdened peace, a fleeting stage before the inevitable pressures of adulthood take hold. Through rich, expressive brushstrokes and warm, natural tones, Generation Nap reflects on the generational shift in how we experience rest, technology, and life’s relentless demands.

The Wonder Blaster 3000 is an immersive, cardboard-built art installation that I created for KidsSTOP at Science Centre Singapore in partnership with Trio Packaging and UmamiFX. Designed as a whimsical time machine for the STEM Festival’s time-travel theme, the installation combined sustainable materials with dynamic lighting to spark imagination and play. In the lead-up to the exhibition, we conducted a series of STEM workshops across Singapore where children designed vehicles from recycled materials and created their own logos. These creations were integrated into the final installation, transforming it into a collaborative, future-forward world built from the ideas and inventions of young makers.

We’ll Make Heaven a Place on Earth is an outdoor immersive installation created for the Asian Civilisations Museum on the ACM Green for Light to Night Festival 2025. Inspired by the museum’s pagoda exhibition, the structure reinterprets the form of a pagoda as a two-way mirrored pavilion, with illustrated scenes of pagodas and traditional Chinese landscapes lining its inner surfaces. At its centre, an infinity-mirror chamber allows visitors to see themselves endlessly reflected, while those outside can simultaneously look in—creating a deliberate tension between visibility and exposure.

The installation responds to the festival theme Do You See Me through its commentary on vanity, voyeurism, and the performative gaze shaped by contemporary social media culture. A musical track I composed—echoing the mood and title of Belinda Carlisle’s Heaven Is a Place on Earth—plays throughout the space, completing the work’s dreamlike and self-reflective atmosphere.

Roots and Wings is a community-based immersive installation created for Singapore Art Week and exhibited at Aliwal Arts Centre, exploring the role of green spaces within dense urban environments. I collaborated with residents of the Kampong Glam district through three workshop sessions, where nature walks led by Untamed Paths inspired participants to paint their responses onto cardboard pigeon silhouettes and share personal reflections. These recorded voices were later woven into an atmospheric soundtrack that I composed for the installation. The final artwork—constructed from recyclable cardboard by Trio Packaging and illuminated by UmamiFX—brought together community expression, sustainability, and multisensory storytelling.

“sapnu puas” is an exhibition that playfully flips tradition on its head, inviting viewers into a world where the classic theme of nudes in art history meets a contemporary twist of irreverence and humor. Literally translating to "send nudes" when read upside down, the title sets the tone for an exploration of sensuality and societal taboos. This collection blends fine art, graphic design, and illustration to create a visually stimulating experience where famous nudes seamlessly intermingle with pop culture elements. Responding to the censorship of nudity, the artworks abstract or whimsically censor the human form, challenging preconceived notions while infusing the space with bold colors, graphic compositions, and a touch of cheeky humor. "sapnu puas" beckons visitors to embrace the unexpected, as it turns traditional representations on their heads, creating a vibrant and thought-provoking celebration of the human body in all its forms.