Dear Ursula is in the semi-permanent exhibition Kruispunt Rotterdam until 2027, where my work is dialogue with the museum’s collection of joss paper. It serves as a kind of dialogue between then and now, near and far.... more
Developed during a residency at Plaatsmaken, poet Hannah Chris Lomans and artist Amy Suo Wu began their process by exploring how they could reconnect with their bodies as intentional modes of resisting and surviving the structural and intimate violences of ‘White Supremacist Capitalist [Heteronormative] Patriarchy’ and the wounds they leave on the body... more
On the pros and conss of oblique communication, labyrinthine tactics for survival in Chinese diasporic realities and musings on how my mother and I navigate these treacherous entanglements.... more
Serenity Department officially has an online space! It is the home of affective labour as research and financial labour as webshop.... more
This installation began as a series of informal gatherings which took place over the winter of 2020: part sleepover, part social-practice art, part ‘diasporadic’ coven, and part study group.... more
In the ongoing column Dark Cousin, I offer embodied reflection into the evasive territory of the visible and invisible, and take readers down a meandering path of coded language throughout history.... more
From the many conversations with my mother, I write a letter to Ursula, an ancestral entity whom I share our mending journey with.... more
An embodied publication shifting between between protective armour and safety blanket, magazine and garment, and human and mythological creature.... more
An intergenerational mending practice two years in the making, between my mother Maria Ling Qing Huang and myself.... more
Paper replicas of the life-sized joss paper dresses were ritualistically burnt in an attempt to connect me to the past, present, and future, through gestures that I have come to understand as spectral publishing.... more
