Pixel Room

Mowem is less a game than it is a toy. In lieu of a goal or purpose, players decide what a toy ought to be used for. At its core, Mowem is built around the idea that toys react to interaction, thereby inventing its own purpose.

Loaded with amazing local indie games, the Torontrons are classic arcade cabinets retrofitted to play contemporary games by local game artists.

In Lifeform, Zena employs hand wood carving in combination with cutting edge UV resin technology. The work is constructed through a process of 3D scanning ancient trees in Scotland's Loch Lomond, and re-interpreting the scans through sculpture as a form of digital abstraction.

Natural resin is produced from trees, which then hardens and becomes amber responsible for preserving many ancient species. In Lifeform, the hardened resin is entirely synthetic and dependent on human technology. The piece contemplates human intervention within our planet's existing ecology and natural systems.

This Nüshu piece renders the phrase “大雨往下，女子向上” in perler beads, meaning “rain falls downward, while women move upward.” Nüshu, a women's script and Chinese intangible cultural heritage, carries histories of women's expression beyond formal education and literacy. Through beadwork, the work preserves feminist memory, community resistance, and women's movement against erasure and silence.

Combining perler bead pixel art with Chinese knotwork elements, rabbit4rabbit merges digital aesthetics with traditional craft and rejects the notion of queer Asian diasporic identity as contradictory or a recent phenomenon.

My illustration encapsulates the aspects of fun, coziness, and comfort to pixel games. I was inspired by my own feelings playing games, such as Harvest Moon, Kirby Super Star Ultra, and Cooking Mama on the DS.

In this meditative play experience, players practice Zhan Zhuang, a standing meditation rooted in Daoist tradition, to reconnect with the cosmos through their relationship with a growing tree. Through cultivating alongside the tree, players can discover their resonant trees within a shared virtual nature environment, collectively shaped by individual participants.

As an ongoing research project, Cyril is developing an online interactive space of the Centre[4]Arts traditional studio with accessible features and information mapping. This project is made in consultation with Centre[4]Arts' Executive Director Yvonne Felix.

Beacon Project

Didi (Digital Deity) is an AR artwork rooted in a fabricated avatar and a small sculptural “shrine” in the form of a gacha machine. The project begins with a simple question: what if the cyborg is not an extension of ourselves, but a manifestation of digital systems that train our bodies through repetition, reward, and maintenance?

We draw on the familiar language of toys — Tamagotchi, blind boxes, and collectible vinyl figures — to make this mythical presence legible.

SLIT-SCAN-CAN-CAN is an interactive slit-scan projection that uses a webcam and live coding to continuously “scan” bodies in real time. As visitors move through the camera's field of view, their gestures are stretched across the projection, creating time-based tableaus that unfold across the wall. The work explores the relationship between body and landscape, asking how something as intimate as human movement can generate vast, horizon-like terrains.

Looking In is a composite of animated rooms designed by various artists. Each artist interprets their own idea of “home” through the act of gazing into spaces inhabited by bodies, histories, memories, relations, and presences — tangible, imagined, ephemeral, and of the in-betweens.