“I’m unashamedly a political writer—some people (and writers) think writing shouldn’t be political or polemical, and I have no idea who came up with that rule. Who benefits from such a rule? Not minorities.”
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“The main question I wanted to address in The Burrow was: how does a family who have suffered an unthinkable tragedy, go on?”
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“First and foremost, The Sunbird is a work of activism. It is art as activism, necessarily brief to counter the argument that the question of Palestine is complicated.”
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“[…] all these labels and myths about Western Sydney only restricts us as artists; frankly I’m tired of caring how we’re perceived. Like me, this work just wants to exist.”
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“I’ve always had a dispute with narration, since it traps the reader in immersion, like a drowning dragonfly. (Are writers part of the entertainment industry? Are books pastimes?)”
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“I am interested in what people will do to propel themselves into wealth, luxury and excess—especially if you possess none of it but believe it to be your birthright.”
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“I am averse to the idea of a conventional-looking facade and simplified visual emulation of historical language. I am not too interested in what the image ‘looks’ like; I am more focused on how a complex thought can be represented through methods learnt from an existing long-established practice of painting.”
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“This debut show is something of a coming-of age-story, a personal renaissance. The realisation that I had the magic within myself all along.”
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"Language is modification. It shows that the self is really a perpetual performance."
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"I think of hope in the same way I think of utopia: it’s not a fixed position, its very essence comes from the fact that we are always striving for better."
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"I could pinpoint the major presence of all these texts in my book. I used it all. I was making my own curriculum."
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“There is so much embedded elitism in publishing and arts scenes, so we wanted to platform both emerging and experienced creatives alongside each other. “
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“Just as my work often reflects on the journey of migration and the blending of different cultures, Marvellous Mythical Mates encourages children to explore their surroundings and understand their home in a new light.”
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“The shape of the film is the hardest part about making films—it takes me a long time […] and it is the richest, most tormenting thing.”
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“The lawless, irrational and ephemeral temperament of dreams corresponds to our true nature, therefore functioning as a form of resistance against colonial exploitation.”
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“Working on the essays in the book revealed to me that each creative work is profoundly associated with the place where it is conceived and produced. Space isn’t merely a container where we and other living and non-living beings exist, but turns into a place by the very act of our living, and that such places have their own deep-time history of which we are a minor but inseparable event.”
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“[…] most of the existing Asian-Australian stories we hear are focused on Asian diaspora in major cities, often overshadowing stories about those from or living in regional towns. “
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“Working with the Vietnamese community in Sunshine and the surrounding suburbs was my way of learning more about the post-war impact that led to the division between communities in Vietnam—especially so considering that the Vietnamese perspective is consistently ignored from the US dominant narrative.”
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“It’s a wilful inscrutability, because I never want to be co-opted.”
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“I like to think that writing creatively within the exacting constraints of form is my way of simultaneously embodying and satirising the experience of being a creative in Singapore.”
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