To When All My Summer Days are Gone encompasses the idea of transformation, growth and revival. The title in itself seems to take form as a sort of acknowledgement, quite like the ending to a novel when the main character is no longer in denial to the inevitability of change. With the intention of establishing a story through a total of eight artworks, this narrative I tell through my exhibition is purposely arranged and partitioned into two utterly contrasting chapters. I’ve always been quite wary when it comes to vulnerability, hiding behind reality even when my heartstrings tug and tell me not to. I’ve then resorted to art as a way to express what I can't comprehend with words. Which is why these pieces in my exhibition are constructed around my high school experiences as I explore the depths of my evolving fears and insecurities as a metamorphosis of my own essence and identity.

During my first year, I took inspiration from the likes of Claude Monet for his impasto technique. I however slowly gravitated towards naturalism and expressionism, which then became a more prominent feature around a majority of my works. It is my artistic intention that I not only develop visually appealing works of art but also, pieces with meaning far deeper than the surface.

“½”, “August”, “Things We Said Today” and “Invisible String” fall under the wishful thinking chapter. Its collective meaning is centered around the profound hope and optimism I had at the beginning, before my perspective shifted. “½” speaks on behalf of the burning naivety I had about growing up, because for a while, that’s exactly all I had hoped for. Years later as I reflect on this moment, I ask myself if being too hopeful was the push for my downfall. “August” follows as it becomes the epitome of change. In a literal sense, this time of month is notable for the seasons transition from summer to fall. I intended for my artwork to show this parallel impression with the overwhelmingly strident colors as the progression into coming-of-age. “Things We Said Today” is a piece intended to pay a tribute to my lineage. The deliberate use of sturdy denim jeans symbolizes the perpetuity of familial ties and bonds, and “Invisible String” may just be the very piece that places the greatest emphasis on change and transformation. The last piece in this chapter shows a two part narrative that aims to tell the audience about the finite days we have with the people we encounter,- despite the invisible string that holds your fondest adventures together. Those after "Invisible String" illustrates my decline.

The last four artworks are divided as the aftermath chapter, where “The Welcoming Committee” forms a genesis into the truth behind fictitious relationships and ideals. This piece wholly strives to portray skepticism and doubt as the subject seems to fall in a pit of her past reality, questioning every moment she’s ever lived. As my journey progressed, I encountered obstacles and revelations far heavier than the previous years. I’ve learnt that being a charlatan made me a spectator in my own life. As such, I understand that I needed to explore this indescribable change, I’ve shifted my approach towards art-making which allowed myself to showcase my version of vulnerability in the last three pieces,- especially through “the ballad of a pretender” and “Conversations with the Wind”.

I believe that I’ve uncovered the truth, or the very least developed a true understanding of this chaotic point in my life. Although I understand there’s a long way to go, especially with self-growth, I believe that the end to this exhibition is marked beautifully well by “21st Century Heartbeat”, where I intended to portray the facade played by every modern day society teen. The false pretenses and the constant need to hide behind validation. I hope that on some level the audience can relate to these grievances that I’ve shown in To When All My Summer Days are Gone, because as a whole, my art aims to tell a story. A story that uncovers my place in the world, growth and above all, acceptance.