Who is permitted to appear in public?

An annual public work, made in a country where the subject is treated as sensitive.

Still Here (2022) painted birds in the colours of the flag beneath the words still here, with fine print naming, plainly, the conditions faced by queer people in Singapore.

Longing (2023) returned to the same wall a year later, on the absence of marriage equality: lovebirds struck through with arrows, joined by a red thread hung with medallions for the things that go unrecognised. The wall carried no visible text. The medallions and their meanings existed only in an augmented layer, retrievable by an instrument- in this case a QR code.

Liberation (2023) was painted in Malaysia, in solidarity with a community facing sharper conditions.

Becoming (2026) was made in the studio and installed indoors. It takes its logic from avian vision: birds perceive a wider spectrum than humans, so what is visible depends on the instrument doing the looking rather than on the thing itself.

Read in order, the four works describe a narrowing aperture. Text on the wall; text hidden inside the wall; the work relocated abroad; the work removed from public space. The murals are declarative- they exist to be seen. What examines anything here is the sequence.