My body of work, Acorn to Oak, explores the enlightenment matriarchal connections offer. It subverts traditional expectations of still lifes that refer to the futile allure of earthly pleasures. Through cultural symbols embedded in the subject matter, it expresses passing in a positive light, rather than a negative. The hyperrealist self-portrait is represented in conversation with my late Baba, with the lines in our faces full of stories and experiences. My work as a whole is intended to be a comment on the ones we love, based on personal reflection and the reverence that comes from nourishment. Connection is love.

Japanese culture and my love for design and architecture inspired this body of work, with both the concept and the rigorous process of creation providing their own therapeutic haven. Using digital art and watercolours, I produced a series of studies of traditional Japanese shopfronts, the outward-facing, vibrant facades expressing how we present in our everyday lives. I juxtaposed these studies with the exploration of the raw, intricate models, which represent the personal, intimate inner world and the refuge that this culture has provided me.

During the pandemic lockdown, we are all locked in our house for several months. We can't go out for lunch, we can't see our friends, we can't enjoy the crowd outside. Finally the lockdown is finished and we are able to go out again. So I go to different restaurants that I have never gone to before, and record the delicious moments. My body of work represents what I missed during the lockdown.

I have an affection for the Betta fish (Siamese fighting fish). Its tolerance of low oxygen levels and poor water quality has created a misconception that it is an ornamental display piece, and it is forced to endure a confined life in a glass bowl. During lockdown we underwent a phase of isolation and many people experienced stress and vulnerability. The Betta can have similar feelings. My body of work examines the confusion and helplessness of both the COVID-19 lockdown periods and the Betta fish. Captions in Thai script and self-portraits express my interpretation of those emotions.

My body of work focuses on the underwater world as it occupies most of the earth's surface, yet is largely inaccessible to us. The creatures represented in my work thrive underwater, sometimes in complete darkness, in an environment that is alien to us. Beyond Humanity is intended to provide a glimpse into the range of weird and wonderful water-dwelling lifeforms. More broadly, the concept underlying my work is to encourage viewers to see beyond their own people-dominated lives for a moment, to disrupt their anthropocentric perspective and consider the plethora of other lifeforms on our planet.

My body of work uses architectural forms and optical illusions to explore my personal and cultural values, expressed as a complex labyrinth. I used buildings to represent how identity is a construct, as we are shaped by our experiences of our world. Our life path is rarely clear. We traverse the landscape and, as in books, enter new chapters or rooms of our life. My intent was to create a visual biography that invites observation and reflection as understandings develop over time.

My body of work is a series of four paintings that addresses concerns about population density across the world and in Asian countries such as Hong Kong in particular. I used murky colours to express the negative consequences of population growth, such as increased pollution and waste. The figures are colourful to create an ironic contrast, representing humanity's negligence in adapting to population growth through high-rise, congested living spaces. This juxtaposition aligns with my title, questioning if 'the more' really is 'the merrier'. My intent was to engage viewers and prompt them to consider the consequences of overpopulation.

My body of work uses interior scenes, at the serendipitous glow of the golden hour, to represent tranquil moments in one's life that may be overlooked and underappreciated. The absence of human presence and sense of dormancy are very familiar feelings from the last two years. I deliberately confined my colour palette and brush size with the intent of drawing the viewer into a state of tranquillity and peace where the beauty of the ordinary can be observed and internalised. Painting on such a small scale created my state of peace and a more personal connection with each piece.

Until recently the very 'human' ideas and skill-sets in the creative industries made them unattainable for Artificial Intelligence. However, developments in AI are leading to a new era of art, forcing questions about the possible obsolescence of human creativity. I chose 2D-cell animation for my body of work in homage to the magic of human creativity, with its lengthy processes and complexity contrasting with instantaneous art production by AI. Growth of AI in the creative arts is a blueprint for society, as we absorb ourselves in efficiency over quality, time and effort. Creativity is slowly being removed from our lives.

Inspired by Georges Braque's Analytical Cubism, my body of work is a homage to the power of music. It so often evokes intense emotional responses, shaping the mood of listeners by cognitively transporting them to moments in time with vivid clarity.