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As an emerging object and graphic designer, my work is diverse in aesthetic and subject matter: a constant, however, is the unique way in which they synthesize my passions for storytelling and design. Whether stemming from personal outlooks and perspectives shaped by my Malaysian upbringing or conjured tales of fiction, my work tells stories I am passionate about through a meticulous design approach. As my practice develops, I find myself increasingly drawn to the intersection between objects and graphics, as I find there to be lots of potential when examining the synthesis of the digital and analogue.

PlastiCity, 2021, Slip cast ceramics, dimensions variable.
Every day, we consume - we consume so much and consider so little.

The weight carried by rituals as mundane as consuming beverages when dining, for instance, are too often overlooked. UNEP (n.d.) reports that the ubiquitous single-use plastic bottles and straws form a bulk of the 400 million tonnes of plastic waste produced annually. PlastiCity tells the story of the entanglement between consumer culture and its impacts, focusing on plastic pollution.

Made of stoneware through slip casting, the vessels take the form of scrunched-up plastic bottles. The smaller vessels, Ignorance is Bliss, lean to one side, exuding the "so what?" attitudes as we blithely consume the environment. Finished with a simple satin glaze, the result resembles plastic while enunciating its creases. The larger vessel lying on the ground, Meanwhile.., has a more deflated, sombre form, representing the vast, ailing environment and how it has been impacted by plastic pollution. The unglazed finish further conveys the raw, vulnerable state of mother nature. The juxtaposition between the multiple Ignorance is Bliss vessels in comparison to the singular Meanwhile... symbolizes the engulfing nature of apathetic attitudes towards consumer culture.

Thorn in My Side is a series of straws with varying forms, given a grungy finish to represent the bleak repercussions of plastic pollution. Made of inherently strong copper sheets, they represent the resilience of the seemingly insignificant plastic straws in destroying marine life. Such is evidenced by the disturbing video of the turtle with a plastic straw stuck up its nostril that went viral. In contrast to the meticulously hammered forms mimicking scrunched up straws lies a singular intact straw, referencing the equally resilient environment. Its textures, enunciated in black, serves as a visual depiction of the marks mankind has left on environment.

While theoretically functional, PlastiCity is a deliberately unfunctional functional series. Users would be driven insane every single time bottles or straws are lifted to the lips due to its sheer impracticality. In doing so, PlastiCity implores users to question why such unusable items were created in the first place, sparking a larger conversation surrounding consumer culture and its impacts.

United Nations Environment Programme, Beat Plastic Pollution, viewed 5 May 2022, https://www.unep.org/interactives/beat-plastic-pollution/