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site-specificity's disapperan-ce would gradually acknowled-ge the complexitie-s of site and allow artists to create opportuniti-es for the location to move alongside the work rather than away from it.

Cited in Pang, P (2020), 

Has Site-Specificity Disappeared in the 21st Century?

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bet-ween places

as we navigate this space and reintroduce ourselves to the real world again, are we able to see through what we missed before? 

staring through a window, waiting for something or someone to pass, trying to catch a glimpse of a view you haven't seen before.

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Of Babel (2021) detail, Glazed Stoneware and battery-powered lightbulb, 00:00:04

Of Babel (2021) detail, Glazed Stoneware and battery-powered lightbulb 

Qian (2021), digital video 1080x1080px 

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Of Babel (2021) installation view, laser-cut birch plywood, CNC routed birch plywood, glazed stoneware and LED light-bulb

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Prayer (2021) installation view, laser-cut birch plywood, CNC routed birch plywood, glazed stoneware

Of Babel consists of lanterns that exchange in a cross-cultural dialogue. The lanterns are decorated with open work that reflect individual cultural symbols: I used ventilation blocks, architecture and existing artefacts as a reference for shape and outcome of the lanterns. I imagine them casting shadows across a room enlarging the presence of the small objects. It expands the area of conversation and presence of these cultures in relation to me and the larger audience. As the shadows are casted across a space, they intertwine with both the audience and the room drawing onto their surroundings

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ancestor worship continues to impact my practice. I am often inspired by my grandparent's home which sits on a hill in Malaysia. The altar table holds little trinkets and possession collected over the years combined with ceramonial ceramics, food and the bodhisattva Guanyin. 

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by priscilla pang

Photographs by myself taken in Kuala Kangsar, Malaysia (2017)