What happens when the visitor has to decide?

These works do not state a position. They build the apparatus that forces someone else to occupy one.

Endurance (2017) is a Twister mat whose coloured circles are the things Singaporeans pay for. Players spin, place a hand, and contort. The game has no winner, only a point at which the body gives out. Nobody is told the argument about the cost of living; they perform it and then fall over.

Progress: The Game of Leaders (2017) makes players enact leadership. VERSUS: Conservation / Redevelopment (2018) sets two spinning wheels of debate topics against each other and requires participants to argue for preservation or demolition from whatever position the arrow gives them- the premise being that conflict must become dialogue before anything moves.

The method begins earlier than the games do. The LIMPEH Show (2015) included a mirrored panel that placed the viewer's face where the founder's should have been, and a t-shirt edition that carried his name out of the gallery on other people's bodies. Enter the work and you are looked at; leave it and you are wearing it.

Each work takes an existing popular format and reassigns its rules to a civic pressure- cost, power, erasure. The result is not a game about a condition. It is a machine that administers one, briefly, to a volunteer.