Having spent over 10,000 hours playing the cello, I left classical music with remorse for what could have been. I was a prisoner of standards, the rules of being a cellist - no nail polish, no skirts, bowing and clapping, playing scores note for note of dead, European, white composers, glorifying the Western stage and falling into a cycle of useless, obsessive perfectionism. In the shadows of my post-mortem dreams, I am reclaiming my canvas as a non-singular practice. I am investigating trauma through the process of making, writing my own instructions for how I want to contribute my voice to the greater multicultural discussion on racial and sexual oppression.
Working organically, I collect objects, images and sounds from the people I meet, places I go and things I see. Many of the elements are Western musical instruments, strung together with Eastern relics and transformed to affect one another like neurons. My sound sculptures require audience participation to become activated, inviting uncertainty and change.
My parents are Taiwanese immigrants; I was born in Baltimore, MD.
My mother wanted to be a pianist; My father, a photographer, an artist.
They are both gynecological cancer researchers now.
Nothing is objective, even science. There is a natural duality that persists in perception. Wrong/Right, Black/White, East/West, Analog/Digital - I investigate and then distort these dualites. Returning to sound from a digital perspective, I am questioning my limited knowledge of music through a process of unlearning by reconnecting with my intention to make, engaging the soul.