My approach to art-making process is to think about it as a visual poetry, which is built upon different mediums including spatial and sensory elements. Through the medium of installation, moving image, and animation, I have two strands of art-making practice.
Especially related to installation as a medium, I have been researching power dynamics around the museum display, which decides what is displayed, how it is displayed, and who is in power to make those decisions. Acknowledging that (Western) museum practices can’t be separated from the Enlightenment, colonialism, and the human and non-human dichotomy, I use the visual language of museum displays to investigate the limitations of the (Western) museum structure as a knowledge producer. Museum practices (in natural history museums, history museums, etc.) have shaped the way people understand their surroundings, but only based on reason and rationalism through categorization, analysis, and scientific-objective information. By putting a subject that wouldn't have been the “proper” subject of the museum due to its "less significant" state (such as experiential, phenomenological, multisensory subject), I am critically questioning the museum as a knowledge producer with my museum-look installation.
The other strand of my work started from understanding my personal experiences and positioning them in a wider discourse, with the conviction that “the personal is political ''. Those personal experiences, such as being insecure about my lack of networking skills at an art exhibition opening or having a nightmare of a dog shrinking down became the departure point of my work. By having conversations with other people through collaboration projects, workshops, or dialogue, I try to bridge my personal stories with the experience of others. In my research on different video-making methods including animation, I try to create poetic and immersive spaces for my stories both physically and narratively.
Based on the active research on my surroundings, speculation and “poetic-academic” language are important keywords in both of my art-making processes. I do believe academics can be poetic, and poetry can be academic.