I make theatre to search for the truth. Being an incredibly obsessive person, my works are inevitably borne out of my obsessions and my preoccupation with ordering the chaos that I feel.


Growing up, my mum constantly cautioned me against sharing personal stories with strangers, for she says that they can always be used against me. But I believe that that is the risk we take as artists. I believe in harnessing the power of honesty and vulnerability of the self in art, for it is through the personal that we find the universal. This is why personal stories are integral in my artistic creations, with acknowledgement that I am but one person with a limited set of experiences. I work with a series of “why”s as a means of continually deepening the exploration and expanding beyond myself.

To me, theatre is about community and connection—about finding the similarities in our differences, about respecting those differences and also challenging them. I am particularly interested in intercultural works, and in discovering what happens when different cultures co-exist and communicate on stage.


I gravitate towards non-traditional and non-linear theatre, and towards continual innovation and reinvention. My works currently take the form of either movement-based ensemble work or a one-woman “stand up drama”, as these forms allow us to bypass social conventions and everyday norms, and pay attention to our instincts and the depth of our feelings instead. The artists who’ve had a profound influence on my artmaking include: Pina Bausch, TAO Dance Theater, Edward Hopper, Philip Glass, Marina Abramovic, nicHi douglas, Nick Ng, and Alvin Tan. 


I believe that art is not necessary for our survival but essential for our humanity. And I hope to create works that give both myself and my audience the courage to open ourselves up to judgment in an increasingly polarized world, and allow us to bravely face the beauty, ugliness, and complexity of human beings.