BIOS: Living NFTs

BIOS: Living NFTs (2022)
Generative Collection – Variegated Digital Plants
3D modelling, Machine Learning/AI, Dynamic NFT

BIOS: Living NFTS is a generative NFT art project in collaboration with Jake Tan that consists of 1024 unique plants grow over 6 months.

The project started as a residency at HOTHOUSE and is inspired by variegated plant collecting, the blockchain, and its impacts on digital assets.

These dynamic NFTs take the form of variegated plants produced from a combination of 3D modeling, machine learning algorithms, and procedural programming to generate unique digital plants.

At the heart of BIOSNFT, the technology behind how the digital plants grow is a window into a possible future of dynamic NFTs. With a six-month growth cycle, the digital plants live and grow similarly to physical plants, with the integration of a time and date data API (Application Programming Interface).

BIOS: Living NFTs at National Design Centre Singapore, 2022

Plant Boxes (2022)
Anamorphic LED mixed media work, featuring a rotating BIOSNFT plant

Juxtaposition of real plants and digital plants

AI generated leaf textures

The case for advertising

The case for advertising (2022)
Single Channel Video

Would you like some shoes with that?

The case for advertising recounts this daily act of recording and checking of Covid-19 statistics. Acting as a documentation of what was happening to the world through numbers and advertisements, this artwork consists of screenshots taken over the course of 3 months. Compiled into the format of a moving image, this artwork highlights the dichotomy presented between online marketing advertisements and the seriousness of global events occurring simultaneously, elsewhere in the world. 

Loading Loading

Medium: Gifs
Date: 2021 – (ongoing)

Loading loading is a series of images stuck in the perpetual state of loading. The series is a diary of our time during the Covid Pandemic and will continue indefinitely until the world is back to ‘normal’ whenever that may be.

“There is an unsettling sense of apprehension and anxiety that I will never be able to shake each time I take a Covid-19 test. Waiting as the ART (Antigen Rapid Test) kit absorbs the mixed fluids to determine a result. In that state of waiting I am neither positive nor negative. ART is loading.”

“I know of no other time than the present but somewhere in the past I am walking back to the car, after watching the sun set on a beach in Dundee, Scotland, the world painted in blue. This was my last photograph taken overseas before returning home.”

“There used to be a cemetery here. And before that as far we know, it was a jungle. As white hoardings go up around the plot of land, I feel a little nostalgic for the quiet that used to define this sacred space. Concrete will pour and new homes will be built upon the ashes of yesterday.”

“Ladies and gentlemen, as we start our descent, please make sure your seat backs and tray tables are in their full upright position. Make sure your seat belt is securely fastened and all carry-on luggage is stowed underneath the seat in front of you or in the overhead bins. Thank you.”

“In my mind I counted as I lit each candle. A single prayer for every one. One for those affected by natural disasters, one for those at war, one for those who can’t find a way out of darkness, one for those who never find happiness, one for those who are sick and dying, one for those who are asleep all their lives and one for those who can’t find peace. I pray for them.”


Superposition (2021)
5mins 25secs
Single Channel Video

All at once

Superposition imagines a world, disconnected and simultaneously existing in many places and states at all times. Drawing from a library of recorded sounds and footage recorded pre-pandemic to the current day, it superimposes chat boxes recorded from live streams onto footage of happenings in the world. What does it mean to participate in a world that spends a lot of time online where narratives are distorted and algorithmic? As we steer ourselves to a more connected life online, do we also become more and more detached in real life?

On This Day

On this day (2018)
Archival Inkjet Print
40 by 60cm
Edition of 3

On this day is a single exposure of all the pages in The New Paper on 3rd September 2018. As we continue to record activities and happenings every single day, the amount of information that will be forgotten increases. The image refuses any form of traditional reading but instead renders the news a mess of abstract lines; a representation of our collective memories.


00:15 (2020)
Archival Inkjet Print
40 x 150cm
Edition of 3
Coney island is a place I go to when I need some quiet. It’s easy to imagine one is lost in the woods when no one else is around. The image was created by stitching and blending 5 long exposure images. From this vantage point you can see the different divisions of the island. Reservoir, concrete, trees and sky. This work was commissioned by pluralartmag for the Our Heartlands project.

When I am Among Trees

When I am among trees (2019)
Single channel video

When I am among trees references the title of a Mary Oliver poem. In the poem she speaks of the joy to be with trees and the call to ‘stay awhile’ amongst them. The work was filmed in front of a white backdrop placed under some trees, in hopes of catching a leaf in the midst of falling. The work serves as a meditation, focused upon a single act of looking and the mindful attention required to notice its fall. In ten minutes, four leaves fall.

Untitled Drawings

Untitled Drawings (2019)
Archival Inkjet Print
14.8 by 21cm

A mark has no time

    no name

no start

                    no end

      no grids

no understanding of itself

        no expectations

no preoccupation

  no stress

no need for any value

        no subject

        no object

no requirement of grace

Untitled drawings is a series of images of marks left behind in urban spaces.

Built on the Ashes


In August 2013, the National Environment Agency announced plans for the relocation of the urns at Mount Vernon Columbarium to make way for the development of Bidadari Estate. The scarcity of land space in Singapore demands that we manage the use of it. If the urns are not claimed after 3 years, NEA will scatter the ashes at sea.

Round and round I go, up the pagoda, circumambulating. I follow the drops of hardened red wax. 6. I catch up to the sky. 7. I no longer see the roofs. 8. I am above the tree and I see the land below me. The tree whispers to me the promises of the dead. I am space. And all around the ashes of tomorrow.

Even in death we struggle to find space

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