Earth/Mars, was exhibited at the Haus der Kulturen der Welt for #Commonings, the final edition of The New Alphabet. In this art installation, cyanotypes of the deserts of Central Australia are juxtaposed with those of open-source Mars images by the National Aeronautics and Space Administration. These images, normally a deep Prussian blue, are toned with various experimental botanical inks. Side by side, these dry landscapes, both contested lands, may function as a good starting point to think through existing settler-colonial violence and regimes on Earth such as with Palestine, the Philippines and many others. The challenges of getting to space in human history went from an international space race to a more individualized one by billionaires, increasing discourse on inequality and catastrophe on Earth. Thinking of Planet B may help to clarify the intentions and goals with Planet A. Can the collective challenges faced on Mars lead people to find or seek out common ground that has been missing on Earth?

Many thanks to the curators, Olga Schubert, Gigi Argyropoulou, Alessandra Pomarico, Mahmoud Al-Shaer and Rahul Gudipudi as well as the HKW staff Savannah Turner, Elisabeth Krämer, Amaya Gallegos, Franziska Morlok, Christine Andersen, and Lucas Gentzsch.

Thank you as well for technical assistance back in Sydney, the UNSW Making Centre and UNSW Design Futures Lab!

More about the program here:

SIlkeborg, Denmark—It was fun to speak at KunstCentret Silkeborg Bad for their artist seminar in conjunction with their exhibition Ether, which features works with Scandinavian artists. I spoke about my petrichor-related works in the past two years. Thanks for having me!

Great to speak at Art & Market’s Landing 2022 conference about art and climate change, featuring past and recent work. Thank you for having me!

Here is the synthesis of the conversation by Art & Market’s Ian Tee:

Key points: 

  • Artists innovate by creating new imagery that spark curiosity. 
  • Collaboration is enriching, especially for research-driven projects.
  • While global warming is a universal phenomenon, the impact of climate change varies from one locality to the next.
  • Rather than having the right answers, it is more important to be open to change as information changes over time.

For the second event of LANDING 2022, Vivyan Yeo, Content Producer at Art & Market, spoke to artist Catherine Sarah Young. Their conversation touched on various approaches towards engaging with the issue of climate change and sustainability in the arts.

Here are the takeaways from the discussion: 

Artists innovate by creating new imagery that spark curiosity. This causes people to do a “double take” and pay attention to pertinent issues. In fact, audiences who tuned in commented on the arresting quality of her artist portraits taken as part of individual projects. One example is her ‘The Sewer Soaperie’ (2016) which highlights the problem of flooding caused by coagulated grease in sewer systems. For this work, the artist made luxury soaps out of oils collected from different parts of the sewer system. She says, “What artists do with these emotional hooks is to get people to notice and change their behaviours”. Art is a powerful asset as it speaks to people as human beings and helps us relate to each other. 

Collaboration is enriching, especially for research-driven projects. Catherine believes that art and science are two sides of the same coin, and her multidisciplinary outlook is partly shaped by her undergraduate education in molecular biology and biotechnology. She appreciates the specificity her scientist collaborators work with. While projects can benefit from partnerships with experts from all walks of life, Catherine advises artists to be mindful of not taking others’ time for granted. It also helps to have a professional portfolio available online, be upfront with one’s request, and have a large pool of prospective collaborators to choose from.

While global warming is a universal phenomenon, the impact of climate change varies from one locality to the next. Therefore, it is crucial to adapt one’s artistic response to the local issues experienced by audiences. Catherine cites her project ‘Climate Change Couture’ (2013) which speculates on what one would wear in a future under climate change. It has been presented in Singapore, Manila, Colombia and San Francisco. In every iteration, the collection reflects the city’s unique environmental scenario and climate projections. It also reimagines the vernacular fashion as a way of acknowledging the cultural specificities of each locale. 

Rather than having the right answers, it is more important to be open to change as information changes over time. In a world of misinformation and tribalism, Catherine hopes that her projects are situations where discourse can happen in a respectful way. In her workshops with children and adults, she observed the urgent need for intergenerational exchange on topics such as climate change anxiety. As we strive to make better choices each day, the major shift is to move away from a throw-away culture towards a sustaining culture.

Watch the video on YouTube or listen to the recording on SoundCloud here.

Stoked to be published in an article in Singapore-based magazine CHECK-IN, an annual publication by Art & Market that serves as a mid-year review of developments, shifts and trends in the Southeast Asian art scene. Featuring first-hand accounts, dialogues, observations and analyses, it is an inclusive anthology of voices from the region. Thank you!

Get your copy here:

I’m honoured and grateful to receive this award for the Environment courtesy of The Asian Network and ERIA: Economic Research Institute for ASEAN and East Asia. Congratulations to my fellow awardees and hat tip to my fellow Obama Leaders Vivian Lim and Sherry Soon! Come join us this Thursday May 19th! (Link in IG story)

Text and image by The Asian Network:

In partnership with ERIA: Economic Research Institute for ASEAN and East Asia & The Asian Network, we are welcoming you for our first virtual Leaders by Head and Heart Award Ceremony 2022. It recognizes 9 outstanding individuals and organizations in Asia that have made major contributions to their communities and countries.
Date : Thursday 19th of May,2022
Time : 7pm to 8 pm (Singapore Time)
Registration link :
Introduction by Mr Ravindra Ngo 赖文卓 , Founder & CEO of The Asian Network.
Opening remarks of Mrs Antonella Noya, OECD Head of the Social Economy and Innovation Unit.

Awardees List:
1. Emilie Pradichitchit (social justice) – Thailand
2. Vivian Lim (gender equality) – Singapore
3. Catherine Sarah Young (environment) – Philippines
4. Dr Darren Chua (disability) – Singapore
5. Dr Skye Kinder (health) – Australia
6. Ali Fayez (peace) – Afghanistan
7. Sherry Soon (invisible disability)- Singapore
8. The-Huy Luong (social justice ) – Vietnam
9.Saijai Liangpunsakul (tech for good) – Thailand

Closing Remarks of Dr.Giulia Ajmone Marsan, Strategic and Partnerships Director ERIA

Stoked to have an interview with Transformations Community, a generative space and a catalyzing force for sustainability research and practice. Check out the interview with me and other artists at


The Driving Force Behind My Work?

The years ahead of us are years of repair for the catastrophes that we have wrought, from fossil fuel emissions that lead to the climate emergency, to habitat destruction that lead to disease, to rising inequality worldwide that lead to social unrest. I believe that the arts have a critical role to play in planetary repair. I trained in molecular biology, fine art, and interaction design, and it was during my travels for my art residencies and exhibitions that led me to face the various challenges—and the diversity of these—of which we are all a part of that made me devote my practice to these issues.

Please Talk A Bit About The Process Of Your Work.

I work a lot on environmental issues because I could never unsee them in all the lives I led in all these countries. As an artist, I like working with what I have, and many of my projects are driven by the material that I see, from bushfire ash in Australia to raw sewage in the Philippines to scent in the Amazon. I begin from these materials because these are what I sense, and from there I work out the story of why these materials are important and how might we care about them even though these might seem ordinary and easy to overlook? I like the idea of “the double-take”—how can I get people to pay attention to these issues that they might be numb to because we see them every day? For example, in making soap out of sewage in The Sewer Soaperie, we initially just see soaps. But upon closer inspection, people realize that they are made from sewage and this distresses some people, and then we have the emotional hook. Or for The Ephemeral Marvels Perfume Store, one might just smell perfumes, but if he realizes that he is smelling scents that we will lose and are already losing because of the climate crisis, then he finds another, more meaningful layer for the work. This layering of meaning is important to me because art speaks to people from all backgrounds. But it is our common humanity that I am hoping to reach, and so I strive to create inclusive spaces by which we can engage with these topics, which are often difficult to grasp and may be even more challenging to discuss with our communities.


Where Has Your Work Engaged With Systems Change-Making? 

The materials I work with are outputs of the systems I aim to critique. For example, bushfire ash is a recurring resource I have because of the climate emergency. In The Weighing of the Heart, I cast these ashes into human heart sculptures to make a permanent visual register of the catastrophe, which is often forgotten soon after. In Arctic Ice Chess, I use ice to create the chess pieces and use the melting of these pieces to drive the story. Here, the ice melts to reveal toy soldiers painted with the flags of the countries that have a political stake on the Arctic and its petroleum deposits, as well as countries that are experiencing sea level rise. This illustrates the players in the system and how human behavior—in this case represented by the playing the game and the melting that is dependent on body heat and heat from the players’ discussion on Arctic issues—play a critical role in the system.

(April 4, 2022)—I was a panelist for the annual conference of the ARC Centre of Excellence in Synthetic Biology headquartered at Macquarie University in a panel run by their Designer-in-Residence Jestin George, about “What can creative practitioners bring to the metaphorical SynBio table?” I spoke about my work along the nexus of art and sustainability, particularly The Sewer Soaperie project in the context of the NSW flooding this year. 

Panelists included Olly Langdon, theatre maker and artistic director from Bristol University; Sam Yu who spoke about his work with in vitro meat of the future; Charlie Yuncken who spoke about his work on Mars; and myself with The Sewer Soaperie. Thank you for the invitation! Recording soon up on

(Manila, the Philippines)—Last March 10, the Cultural Center of the Philippines held the official awarding ceremony for the 2021 Thirteen Artists Awards.

I am so grateful to have been selected for this cohort. And even more grateful that my parents went and accepted the award on my behalf.

Yay, Mom and Dad! Mom beat COVID-19 earlier this year, so this was awesome.

The Thirteen Artists Awards is the oldest government award for Filipino artists. Present at the ceremony are Cultural Center of the Philippines (CCP) Chairperson Margarita Moran-Floirendo, Trustee Attorney Lorna Kapunan, and past Thirteen Artists Awardees Nap Jamir and Gerry Tan.

The ceremony was followed by the opening of the exhibition of the artists, which was curated by past Thirteen Artists Awardee Shireen Seno.

These amazing trophies are designed by 2006 Thirteen Artist Awardee Mac Valdezco. I’m thrilled to have one and look forward to seeing it in person on my next visit.

Thank you so much to the Cultural Center of the Philippines’ Visual Arts and Museum Division team!

Photos by Orly Daquipil and courtesy of the CCP Visual Arts and Museum Division

Brian Walker of US-based podcast Dreams Not Memes interviewed me this month about climate change and art.

Dreams Not Memes is a podcast curated by Brian Walker of A Day Without Love. The podcast is about going more in depth about the ins and outs of being an independent creator, collaborator, activist or entrepreneur. This podcast will include 1000 interviews from people around the world and their stories about navigating the struggles associated with finding your own vision.

Check it out on Spotify here. Subscribe here.

Thank you for having me!