Artist notes:

From the beginning, I have always wanted to explore the concept of deformities and unconventional transformation as a means to disrupt societal narratives and norms. During my internship with Peiper Flower, I was introduced to the art of paper flowers where I constructed a variety of flowers and plants ranging from miniature to giant for various projects, companies, clients and events, mostly being weddings.

I decided to explore deformities in flowers, also known as fasciation, to provide a new and overlooked perspective on the perfect blooms I worked with on a daily basis, constructed with utmost precision and intricate detail. It would’ve been a visual representation of myself , situated within a family of perfectly grown flowers, highlighting the little differences and imperfections which have created distance and conflict with those around me over the years.

This work emerged from a place of anger and resentment, growing up in a community surrounded by people who failed to protect me, forcing me to conform in order to receive love and acceptance in return upon meeting their conditions. This is where I drew inspiration for a wedding, a traditional and sacred ceremony which celebrates unconditional love and happiness.

Weddings play a major role in the Singaporean dream as it serves as a gateway to the multitude of assets in favour of the newlyweds and their family members, especially the parents. It signifies independence, financial stability and the ability to find a partner who leaves a good impression on the family, which was something I secretly envied of others as I just wanted to receive the same recognition and approval from my unexpressive parents whom I fear would never accept me for my interests, identity, sexuality and who I am/want to be as a person.

I juxtaposed all my frustrations and fears with the soft, tranquil colours of white and pastel pink peonies, a reference to the typical florals seen at wedding ceremonies during my experience with Peiper. The colour scheme comments on the modern aesthetics which have shaped the image of an ideal lifestyle in Singapore - white, clean, grand, minimalist, yet superficial, hollow and fragile like paper. The fasciated blooms serve as a critique of expectations and the definition of success, the need to abide to traditions such as lavish wedding ceremonies held in churches, hotels, void decks and other exquisite venues with an array of spectating guests nodding in approval. Wedding vows and speeches play a major role in this work, taking inspiration from my dad’s handwritten letters to my mum. Upon reading them out loud, I began to question what had gone wrong over the years, why he decided that I wasn’t worth showing the same love and affection to.

From reciting a combination of his words and mine at home, I shot my pretend rehearsal, with the intention to create a dreamy and magical atmosphere to accompany my flower installation at a range of locations such as the beach and specific places in my home where good (and bad) memories of us thrived, giving way to new perspectives on the definition of an altar, accompanied by with the vows said around them. It also conveys the unnatural recital of the unspoken word turned spoken while I refer to a script, these words of praise and longing being unable to come to me naturally after being deprived of them all this time. I hope for I Do to serve as an unconventional critique of our current landscape with its standards, expectations and traditions.


Watch the full film below:
https://www.youtube.com/watch?v=euDuS3uJY3w.