What initially started as an exploration of the tradition of Chinese Landscape Painting quickly became a study of abstract movements of ink through water and salt. The possibilities were interesting and endless. But the experimental approach felt increasingly alienating, and I soon found myself unfocused, anxious and without any direction.

Seeking solace, I turned to more familiar forms. In the forced silence of the first lockdown, simply drawing trees felt like arriving at an oasis. It felt like returning home.

Under the mentorship of Shirley Soh, Woon Tien Wei and John Chan, A Song of the Homesick became a meandering process of departure and return; an investigation of medium and material that eventually led me back to a grounding subject-matter.