Across large-scale paintings, vitrines, installations, and videos, the Malaysian-British artist interrogates how cultural meaning emerges from disparate information fragments. One installation channels Sigmund Freud’s consulting room, featuring Persian rugs and antique examination couches alongside her own unstretched paintings. Another extends her White Grounds series, using layered maps and studio detritus partially covered with white oil gesso, and skin-like latex curtains to explore psychological and bodily themes. “I’m interested in the idea of artifacts not as ethnographic evidence, but as a portable ecology—they move, they travel, they contribute to cultural hybridity rather than cultural homogeny,” she says. “All these elements are constantly remapping how we read history and how we consume the present.”