The Hairy Virgin, Paris 2021 “A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived. It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature” Extract of the original book “Histoires prodigieuses” by Pierre Boaistuau, 1560 Picture by Javier Canales

To Wolf DownCovering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy

To Wolf Down, 2006Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy

To Wolf Down, 2006Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy.

To Wolf Down, 2006Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy

The Forgotten, 2018Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject.

The Forgotten, 2018Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject.Picture by Javier Canales

Love SeedsOn les appelle "Love Seeds", graines de l'amour et elles poussent sur un arbre appelé le Saga

Love Seeds, 2012On les appelle "Love Seeds", graines de l'amour et elles poussent sur un arbre appelé le Saga

Love seeds, 2012On les appelle "Love Seeds", graines de l'amour et elles poussent sur un arbre appelé le Saga

Love Seeds, 2012On les appelle "Love Seeds", graines de l'amour et elles poussent sur un arbre appelé le Saga

Innocence #03White is a recurring feature in Andrée Weschler's performances. White is a blank page on which she writes her story. The soft pearls had hardened through fire into becoming a 50kg necklace. The performance was held in a church in Toscana (Italy) where Andrée Weschler gradually wrapped herself with the long necklace. Eventually bounded and blinded by the pearls, she broke free from the chains she created. The church resonated like rain finally falling in the desert. Innocence was performed three times

Innocence #03“In 2006, my life was a desert. Everybody seemed busy, active, alive, while I was a prisoner in my own apartment. Nothing was happening in my life, and I felt I was a thing among others in my home. One day I received from a friend a pack of clay. I started to roll small pearls of porcelain from the clay for no reason. They were cute. To escape from my lethargy, every night I rolled pearls made of porcelain, like Penelope weaving her tapestry while waiting for Ulysses, except that in my story there was no Ulysses. All the pearls together became a very long necklace of a few metres; very beautiful, very difficult to move, very heavy.”This was some years ago. Everything has changed since then: the others and I. This time the necklace weights 50 kilogrammes to embody my 50 years of life. It was a spontaneous idea that I had, which I expressed the idea with joy; 50 is a number so easily said but 50 kilogrammes of porcelain can be tedious and laborious.Picture by Anita Vozza

Innocence #03 "The necklace was weighting 50 kilogrammes to embody my 50 years of life. It was a spontaneous idea that I had, which I expressed the idea with joy; 50 is a number so easily said but 50 kilogrammes of porcelain can be tedious and laborious.I tried to carry the necklace the way I carry my years"Picture by Anita Vozza

Innocence, 201350 kilos of beats rolled in porcelain by Andrée Weschler

Tierra, fuegos y sueños...Collaboration Javier Canales and Andrée WeschlerPatagonia, ChileJanuary 2017

Tierra, fuegos y sueños…Andrée Weschler and Javier Canales decided to carry out a collaboration where the concept would relate to the territory of Patagonia, the body, time and memory. The intention of the two artists is to work on the relation of the body and the stone, the body and the clay, with performances and installations. Performance experimental and interactive with soft clay shaped in a stone, in situ, Strait of Magellan, Patagonia, Chile

Tierra, fuegos y sueños…the territory of Patagonia, the body, time and memory. The intention of the two artists is to work on the relation of the body and the stone, the body and the clay, with performances and installations. Performance experimental and interactive with soft clay shaped in a stone, in situ, Strait of Magellan, Patagonia, Chile

Tierra, fuegos y sueños…Andrée Weschler and Javier Canales decided to carry out a collaboration where the concept would relate to the territory of Patagonia, the body, time and memory. The intention of the two artists is to work on the relation of the body and the stone, the body and the clay, with performances and installations. Performance experimental and interactive with soft clay shaped in a stone, in situ, Strait of Magellan, Patagonia, Chile

Amputation, 2006 To heal you need to amputateCut yourself off from The gangrene that is eating you upGangrene is a person a thing a love a parasiteHealing is about violence“My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure”

Amputation, 2006To heal you need to amputateCut yourself off from The gangrene that is eating you up Gangrene is a person a thing a love a parasite Healing is about violence “My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation. In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure”

Black #02, 2010Performance Art Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoesThe initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist

Black #02, 2010 Performance Art Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoesThe initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist

Black #02, 2010Performance Art Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoesThe initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist

The EggPerformance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005.

The Egg, 2005Performance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005.

Some Flowers to Make it Look Beautiful, 2003 Flower n. 1. that part of a plant that produces seeds.2. the flower of, the finest part of3. the flower of speech, ornamental phraseOxford Advanced Learner’s Dictionary of Current English

Some Flowers to Make it Look Beautiful, 2003Flower n. 1. that part of a plant that produces seeds.2. the flower of, the finest part of3. the flower of speech, ornamental phraseOxford Advanced Learner’s Dictionary of Current English

La Carte de Tendre Revisited by Andrée Weschler & Lynn Lu

The map of Love, 2011La Carte de Tendre was a French map of an imaginary land called Tendre produced in the 17th Century, which depicts the "geography of love" according to the Precieuses of that era: the River of Inclination flows past the villages of "Billet Doux" (Love Letter), "Petits Soins" (Little Trinkets), and intrepid travelers brave the dangers of "Le Lac d' Indiference" (Lake of Indifference). The villages, roads, and topographic features in this allegorical representation trace the myriad facets of love and its associated perils. Lynn Lu and Andrée Weschler revisited the map of love with its successes and pitfalls and propose a new reading of the Carte of Tendre with video installation and performances art.Ref. Carte de Tendre, 17th Century print, Paris, Bibliothèque Nationale de France

The Venus in Furs, 2006Video Performance“It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog”Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books, New York)

The Venus in Furs, 2006 Video Performance“It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog”Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books, New York)

The Venus in Furs, 2006Video Performance“It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog”Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books, New York)

Choir, 2003Digital photography

The Choir, 2003Digital photography

The Sound of the Princess, 2004In Japan “The sound of the Princess” is called Oto Hime. It is a little machine one can find in the ladies. If you press on its button an artificial noise of flash is generated in order to cover the sound of the urine falling into the toilet bowl“I did not know that women can pee like men” by anonymous in the toilet of the French Art School: Les Beaux-Arts de Paris, France, 2000

The Sound of the Princess, 2004 In Japan “The sound of the Princess” is called Oto Hime. It is a little machine one can find in the ladies. If you press on its button an artificial noise of flash is generated in order to cover the sound of the urine falling into the toilet bowl“I did not know that women can pee like men” by anonymous in the toilet of the French Art School: Les Beaux-Arts de Paris, France, 2000

The Sound of the Princess, 2004In Japan “The sound of the Princess” is called Oto Hime. It is a little machine one can find in the ladies. If you press on its button an artificial noise of flash is generated in order to cover the sound of the urine falling into the toilet bowl“I did not know that women can pee like men” by anonymous in the toilet of the French Art School: Les Beaux-Arts de Paris, France, 2000

Yagashaga Tierra de Sueños… 2020Collaboration by Andrée Weschler and Javier Canales Museo Martin Gusinde, Puerto Williams, Chile

Between the Hair and the Stone, 2000Digital photographyThe hair and especially pubic hair is the last territory of the modesty. The hair betrays us. We can shave it, pluck it, it will always come back, revealing our instincts, reminding the primates in us.”Andrée Weschler

Between the Hair and the Stone, 2000Digital photography“The hair and especially pubic hair is the last territory of the modesty. The hair betrays us. We can shave it, pluck it, it will always come back, revealing our instincts, reminding the primates in us.”Andrée Weschler

Between the Hair and the Stone, 2020 Digital photographyThe hair and especially pubic hair is the last territory of the modesty. The hair betrays us. We can shave it, pluck it, it will always come back, revealing our instincts, reminding the primates in us.”Andrée Weschler

Between the Hair and the Stone by Andrée Weschler, 2000 Solo Exhibition, Peppers Gallery, Tokyo 2000Music of Video: "Massive Attack-Teardrop (Theme Song)

Les Graines du temps, 2021Andrée Weschler, artiste performeuse, parle du temps et de la manière de le remplir quand rien ne se passe. Son œuvre « Les Graines du temps », présente comment le processus de création artistique, de la fabrication des matériaux avec lesquels elle travaille à la performance en direct, comble temporairement un vide. Ce vide temporel remplit un vide spatial d’où émergent des idées. Un vide temporel métaphysique qui mène à un plein tangible et physique. Le vide stagnant est un facteur de motivation pour créer

Les graines du temps, 2021Andrée Weschler, artiste performeuse, parle du temps et de la manière de le remplir quand rien ne se passe. Son œuvre « Les Graines du temps », présente comment le processus de création artistique, de la fabrication des matériaux avec lesquels elle travaille à la performance en direct, comble temporairement un vide. Ce vide temporel remplit un vide spatial d’où émergent des idées. Un vide temporel métaphysique qui mène à un plein tangible et physique. Le vide stagnant est un facteur de motivation pour créer

Les Graines du temps, 2021Andrée Weschler, artiste performeuse, parle du temps et de la manière de le remplir quand rien ne se passe. Son œuvre « Les Graines du temps », présente comment le processus de création artistique, de la fabrication des matériaux avec lesquels elle travaille à la performance en direct, comble temporairement un vide. Ce vide temporel remplit un vide spatial d’où émergent des idées. Un vide temporel métaphysique qui mène à un plein tangible et physique. Le vide stagnant est un facteur de motivation pour créer.

Les graines du temps, 2021Andrée Weschler, artiste performeuse, parle du temps et de la manière de le remplir quand rien ne se passe. Son œuvre « Les Graines du temps », présente comment le processus de création artistique, de la fabrication des matériaux avec lesquels elle travaille à la performance en direct, comble temporairement un vide. Ce vide temporel remplit un vide spatial d’où émergent des idées. Un vide temporel métaphysique qui mène à un plein tangible et physique. Le vide stagnant est un facteur de motivation pour créer.

If you imagine my dear that... 2011“If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poem by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco.The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it.Translation of the French poem:“If you imagine, if you imagine, girl girl, if you imagine, that is going to last forever the season of the season of season of love, you got it all wrong girl, you got it all wrongIf you think my dear, if you think that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrongBeautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not, you got it all wrong, girl girl, you got it all wrong”

If you imagine my dear that... 2011 “If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poem by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco.The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it.Translation of the French poem:“If you imagine, if you imagine, girl girl, if you imagine, that is going to last forever the season of the season of season of love, you got it all wrong girl, you got it all wrongIf you think my dear, if you think that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrongBeautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not, you got it all wrong, girl girl, you got it all wrong”

Innocence #02Innocence #02 is part of a series of Performances Art using only material with the color white.The material for the performance is Baby Powder

Innocence #02Innocence #02 is part of a series of Performances Art using only material with the color white.The material for the performance is Baby PowderPicture by Anita Vozza

The Memory of Water, 2012The Memory of Water, part of Singapore Intensive, presented by Future PerfectThree videos screened on a different liquid: Chinese ink, milk and a blue liquid, where each colour and material alludes to distinctive emotions and moments: Gilman Barracks, Singapore

Black #02, 2013Guangzhou Live 04, ChinaBlack #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoesThe initial inspiration of this performance is a memory of her childhood. The performance was not planned and was a kind of adventure for the artist

Can a first performance be truly relived? [2003-2015] In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.My performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'.How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer.Since then my relationship with performance has vacillated between love and hate.For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015]

Can a first performance be truly relived? [2003-2015]In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragmentMy performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'.How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer.Since then my relationship with performance has vacillated between love and hate.For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015]

Can a first performance be truly relived? [2003-2015]In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragment My performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'.How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer. Since then my relationship with performance has vacillated between love and hate. For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015]

Can a first performance be truly relived? [2003-2015] In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragmentMy performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'.How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer.Since then my relationship with performance has vacillated between love and hate.For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015]

Sexual Landscape, 2002Peppers Gallery, Tokyo, Japan

The Hairy Virgin, 2013The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King.In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”.“A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived.It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature”Pierre Boaistuau, Histoires prodigieuses, 1560

The Hairy Virgin, drawing 1560The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King.In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”. “A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived. It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature” Pierre Boaistuau, Histoires prodigieuses, 1560

The Hairy Virgin, 2004The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King.In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”.“A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived.It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature”Pierre Boaistuau, Histoires prodigieuses, 1560

The Hairy Virgin, 2008The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King.In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”.“A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived.It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature”Pierre Boaistuau, Histoires prodigieuses, 1560

Domesticated in her Animality, 2002 The hair is uncontrollableI can pluck, shave and eraseI can act, hide and lieThe hair will always grow backPointing out with insolenceCaught between the hairless model and the hairy VirginI am

Domesticated in her Animality, 2002The hair is uncontrollableI can pluck, shave and eraseI can act, hide and lieThe hair will always grow backPointing out with insolenceCaught between the hairless model and the hairy VirginI am

MAKE THE in VISIBLE, 2015Zentai Art Festival, Invisible whole 2Institute of Contemporary Arts SingaporeLASALLE College of the ArtsPicture by Jun

The Memory of Water: projection on milk, 2012The Memory of Water, part of Singapore Intensive, presented by Future PerfectThree videos screened on a different liquid: Chinese ink, milk and a blue liquid, where each colour and material alludes to distinctive emotions and moments: Gilman Barracks, Singapore

Wild Flowers, 2001Kangnung, KoreaCollaboration with CHUA Ka-InnIt started with a collaboration between two artists and the landscape, a dialogue among the three elements. Having come from two very different environments, it was their first visit to the Kangnung landscape (Korea). Thus begins the communication between nature and human experience.

Story to make the little hoods blush, 2003Story to make the little hoods blush- * Ref title of French erotic short stories, Contes a faire rougir les petits chaperons, de Jean-Pierre Enard

Story to make the little hoods blush, 2003Story to make the little hoods blush * Ref title of French erotic short stories, Contes a faire rougir les petits chaperons, de Jean-Pierre Enard

Story to make the little hoods blush, 2003Story to make the little hoods blush- * Ref title of French erotic short stories, Contes a faire rougir les petits chaperons, de Jean-Pierre Enard

The Need for an Alternation, 2011Video Performance, 2011The video is part of a series of works named Black that started with the performance "Black#01" done in 2010 at The Substation for the Night Festival Singapore. The color Black talks about Happiness. Title for this work has changed successively from “Happiness” to “Alternate Happiness”, then “Black #04” to “Image” and finally “The Need for an Alternation”

The Need for an Alteration, 2011Video Performance, 2011The video is part of a series of works named Black that started with the performance "Black#01" done in 2010 at The Substation for the Night Festival Singapore. The color Black talks about Happiness. Title for this work has changed successively from “Happiness” to “Alternate Happiness”, then “Black #04” to “Image” and finally “The Need for an Alternation”

The Need for an Alternation, 2011Video PerformanceThe video is part of a series of works named Black that started with the performance "Black#01" done in 2010 at The Substation for the Night Festival Singapore. The color Black talks about Happiness. Title for this work has changed successively from “Happiness” to “Alternate Happiness”, then “Black #04” to “Image” and finally “The Need for an Alternation”

Bit by Bit, 2008I slowly ageBit by bitHere and thereIn silence[Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee

Bit by Bit, 2008I slowly ageBit by bitHere and thereIn silence[Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee]

Bit by Bit, 2008I slowly ageBit by bitHere and thereIn silence [Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee]

Bit by Bit, 2008 I slowly ageBit by bitHere and thereIn silence[Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee]

Innocence #05, 2008Fundraising for The Substation, Innocence#05, Supperclub, Singapore

Human Nature, 2003“Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy.”

Human Nature, 2003Covering the landscape with hair creates an other reality. I am interested in emphasizing and enlightening the disarray of intimacy.

Human Nature, 2003Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy.

Parasite, 2005Parasite n. 1. An animal or plant that lives on or in another from which it draws its nourishment. 2. A person who lives off an-other or others and gives no useful return.The Oxford Paperback Dictionary

Black #01, 2010 “ The image of the performance in my head is like a plant. I can see it every day. Every day I think about it, I see it, I look at it, I treasure it and I nurture it like I water a plant daily to maintain it alive.” Giving a title to an artwork is a mysterious thing. I have experienced showing an artwork and changing each time the title as if the artwork was another one. Another time, on the contrary, I had a title that I was obsessed with and could not find the appropriate work for it; therefore I did a series of different work with the same title.

Untitled, 2014Haslla Art Residency, Gangneung, Korea

Wok, 2011Wok contains love seeds (saga seeds). During the process of covering patiently the wok with red thread, love seeds were rolling and making nice sound.Wok is a group exhibition project organised and held at Your Mother Gallery, Singapore. “The idea of using a signboard is to remind us about our mother or family using this utensil to make food for us everyday. The wok is a very special and unique tool that we use everyday and especially in Asia. There's a saying “What we eat is what we are”. And this is part of our Asian culture.”

Photography, 2015by Anita Vozza,

Love Letters, Video, 2015Def. love letter/lʌv ˈlɛtə/noun 1. a letter or note written by someone to his or her sweetheart or lover2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinderCollins English Dictionary

Love Letter, Video, 2015Def. love letter/lʌv ˈlɛtə/noun 1. a letter or note written by someone to his or her sweetheart or lover2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinderCollins English Dictionary