Jenny Liang for Coeval Magazine shot and interviewed by me, 2022

“Inspired by an itching sense of wandering fashioned into the timeless atmosphere that builds upon desires and dreams. A dance like a play in form and a form of play. Design and clothing play a part in this longing for Liang, as creating identities often come with its personal revelations in modification. Longing for landing is a feature in how clothing is worn. We must move, timing is important for not tripping on yourself.”











︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿




Ocean Bouey shot by me during quarantine at my abandoned grandmother’s house, 2021. 

“A home feigns real in memory. In isolation, my dear friend Ocean and I dance in my grandma’s mu’u up and down the final vestiges of my grandparents’ home, built by my grandfather above Kaimuki. Once an epicenter for family and friends around the island, now lost to a tradition of settler Hawai’i mentality, emptied, a model for sale. Inaccessible and individualistically turned away from the values of communal Aloha and sharing, I question my relationship to this place. What is it to be without family in a place where family wins: an institution that renews and rewards itself yet pulls away when inconvenience or trauma enters the front door. I invite you to trace our outline. The haunted house is no longer one of warm communion.

Parts are torn, barriers are being installed, and the furniture is displaced. My grandmothers’ collections are scattered. Ocean and I battled with flying roaches, laughed with ghosts, cried to meteor showers running our fingers across creaky walls. The old house moaned from the strong leeward wind. We played ghost until it was time to leave.” 





















































︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿
Mali in Kahala, 2022



A sweet time in January. 


















︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿

Shannon in Kahala, 2022

Next to Mali, a sweet time in January. The first time we hung out one on one was to put clown makeup on one another. 











︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿

Balancing Meal BTS, 2021

From Uluwehi Kang’s Balancing Meal. Rehearsals at Aupuni every Thursday featuring Strawberry Jam (Jenna Macy, Lise Michelle and myself) for a final performance written and directed by Uluwehi Kang as an ending to Forever 2021, a duo-show with Uluwehi Kang and Natalia da Silva. 























︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿

Lise at Hunakai, 2019 

shells grow without sound

surrounded by bruising

possessed by movement


How much memory can I retain underwater—hold your breath. . . a living thing could be memorized in its acts, memory in rotation. It is less a study of form than it is of movement, memory engulfed and steaming of conflict.

Water comes and goes not in the way land works. Trees can not ungrow, stones continue into shards. And like a river undergoing an estuary, I seek to be unnamed by the ocean, engendered by water with no stake to connection.

Sea as the substance by which I dream. Whether gyration or a stream, and finally, water colors me green.



























︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿

Double Exposed Scans from my time in Bangkok 2018 onto photos from SPA: healing object, 2022















︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿୨♡୧‿︵‿︵︵‿︵‿

Misc 35mm Scans 2019-2023
Spanning from Hawaii to wherever.