About
CV
Sampat Studio
G1rl W0rld
HAPPY ORIENTAL TRADING CO.
Bad Bitch Club
Laugh & Object
HAPPY ORIENTAL TRADING CO. (2020)
HAPPY ORIENTAL TRADING CO. is a collaborative exploration of cultural narratives within the South-East Asian context. Encased within the facade of a gallery in an academic institution, the little store recreates the nostalgia of our humble past. The “pavilion of poverty” reflects the duality of pride and ambivalence tied to socioeconomic conditions in our countries. Mirroring the diverse backgrounds of the participants, the retail signage features various translations of "Happy Shop" in Vietnamese, Malay, Chinese, and English. Among these, the Chinese term 安贫 (an pin) most aptly conveys the exhibition’s core message. It translates to a contentment with poverty coupled with a commitment to spiritual or intellectual pursuits, reflecting a nuanced perspective on economic hardship that, for many, is not a choice.
Curated by a collective of five South-East Asian students from the Royal Academy of Art (The Hague), this exhibition delves into themes of internalised trauma, fluctuating self-esteem, and the ethics of third-world labor. HAPPY ORIENTAL TRADING CO. provides a profound commentary on identity and resilience, inviting reflection on the socio-economic realities that shape our experiences and perceptions.
For this exhibition, I contributed two works: Mirror, Mirror! Who’s the Fairest of Them All? and Opportunity, showcased below.
This project examines how Western colonialism and its lingering effects continue to shape contemporary beauty standards. Malaysia grapples with a colonial legacy in which being "white" has historically signified power and privilege. This issue is further exacerbated by the homogenization of beauty ideals promoted by Western multinationals, representing a new form of modern-day colonialism. I chose to reintroduce my Bad Bitch Club (2019) characters for this film as a satirical lens through which to explore the desire for these beauty standards.
These interactive posters explore the complexities of a post-colonial Malaysian society, particularly through the lens of labor. In Malaysia, posters advertising sex work and predatory loan services are prevalent along roads and underpasses. Having grown up surrounded by these images, we find ourselves grappling with a sense of disconnection. Who are the individuals depicted, and what drives them to these circumstances? This work reflects on our own privilege while addressing the broader struggle to escape poverty and the exploitation of vulnerable populations. It delves into Malaysia's troubling role as a destination for human trafficking, forced prostitution, and labor exploitation. This work is designed to engage interactively; when you touch, tap, or stretch the textile posters, sounds are emitted. For instance, the sound of a phone dialing prompts the question: who will answer on the other end, and what might they say? Similarly, a cacophony of incoherent voices symbolizes the overwhelming flood of advertisements and messages we encounter daily, where no single voice stands out and many are lost in the noise.
This work is in collaboration with artist Marcos Kueh.
This work is in collaboration with artist Marcos Kueh.