about
highlights
‘23 | Green Parks & Yellow Lights - pixel art
‘24 | “Bọ” - experimental performance
‘24 | “currents” - a short story
‘24 | “Silence” - hand-drawn cyber animation
‘23 | “my heart yearns for gaia’s embrace” - photo series
‘21 | ‘Dấu Chấm Tròn Xanh’ music video animation
‘23 | “The Sense of Self” music & sound design
‘20 | “Hikaribakuh” pixel art animation
‘19 | “Obscure” animation
ongoing practices
sketches - drawings - posters
photos
dance
other adventures
‘19 | Chairs Morphing - a study of chairs
‘19 | “Tùng Nai” - artefact study + wearable design
‘21 | “Mecha Buffalo” - concept art
‘20 | Miliket Noodles Rebranding
‘21 | HOME LINES Rebranding
‘20 | “Granny’s House” - 3D recreation
‘19 | “Arduin” - 3D Character Concept
‘19 | “Does Not Exist”- VR prototype
an experimental performance - an existential questioning of the soul, life and death, and the sacred.
Medium: physical performance
Outcome: a 30-minute performance
Year: 2024
Time spent: 3 weeks
about the original author’s work:
“Bug” is part of the series “And they will take roots wherever the soil goes,” which contemplates the idea that “We take birth from the soil.” “Bug” consists of two phases: phase 1, which centers on writing practices and visual works (2024), and phase 2, which evolves the previous writing practices into a play (2025).
“Bug” encapsulates the artist’s personal convictions regarding the interplay between the soul, life, and death, as well as a discourse with the sacred. Within the dialogue, the two characters embody the constraints associated with responsibility and the perpetual cycle of “birth.” In this scenario, God is viewed as equal to Bug, with neither incarnation being superior to the other.
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“Bọ” (”Bug”) was my first show/performance as a dancer and movement practitioner, for @projectdaysan‘s Dựng program.
we created an adaptation of Rab’s @rabtheanimal work - “Bug”. “Bug” is a poem and visual work series that “encapsulates the artist’s personal convictions regarding the interplay between the soul, life, and death, as well as a discourse with the sacred.”
without spoiling too much of the 30-minute-ish performance, there’s a God and a Bug in this world, and I was a part of that sublime journey/ritual where these seemingly disproportionate “roles” were subversed, tinkered, played around with.
during the 3 weeks of practice and experimenting, i/we felt the creative freedom to do whatever we felt was fitting, and felt the wholehearted support from my fellow performers to the directors and producers/facilitators, and everyone in the audience. Absolutely honored to have been invited by @surrealexpressionism and to perform alongside such veterans @uthaopia @akechi0112xt @benzism__
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EVERYTHING STILL FEELS SURREAL. I WAS EITHER BOWING OR PUTTING MY FACE AND FOREHEAD TO THE FLOOR. THUS I HAVE BUT A CLUE ON HOW I/WE LOOK. PRACTICE WAS SO DIFFERENT. WHY WAS THE LIGHTING ON SHOWDAY SO GOOD AND ATMOSPHERIC??! WHY DID BEING SEEN BY SO MANY PEOPLE WHO ARE THERE WITH THE INTENTION TO SPECTATE A PERFORMANCE not scary at all? I/WE WERE SQUIGGLING-TWITCHING-PULSATING ON THE FLOOR and they’re not asking what i’m on and they’re there to support/discuss/wonder what i/we do??
contemplating my self-taught-ness in the mediums I choose and how I feel inadequate and uneducated and most of the time an utter amateur. but after performing, i wish to believe that there is more joy and satisfaction to be found just by being curious and true to my nature in the way i practice these disciplines. and it brought me all these amazing people and communities and opportunities…? i wouldn’t have made it here if not for the hours i put in!
I guess..I just need to keep practicing,
keep experimenting.
to keep going, keep being me
unapologetically. unabashedly.
> next: “currents” - a short story
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