Taking cue from Henri Lefebvre’s bibliography on the social production and politics of space, alongside Guy Debord’s invented term “psychogeography”, the 2-channel aerial video essays ‘The 14th Resolution’, ‘IN TANDEM’ and ‘Wěndìng Fánróng’ go beyond the traditional modes of seeing, experiencing and interpreting the City, its History and the spatiality of its Politics. Exclusively filmed with a drone, perspectives are twisted and multiplied, while new types of visuality arise through a disembodied and remote-controlled gaze.


All three films can be described as urban ventures that explore and map the modes of organisation of social and cultural life in a predominantly intuitive but also systematic fashion; they are the result of perpetual walking (Hong Kong), cycling (Taipei) or driving a motorcycle (Kuala Lumpur) across various districts, which involve personal projections of previous urban experiences on the current cityscape while each city reflects on “the greatness and the strength of the people who built it and against whom it was built’. [H. Lefebvre, Critique of Everyday Life (Verso, London 1991) 232]. 


The moment of filming is vital. An interplay between thought and feeling is in progress, alongside concurrent, yet distinct modes of observation, which are situated around a fundamental and constitutive dichotomy in the artist’s gaze: the double gaze while operating the drone (her subjective/human view on the street level and the drone’s objective/scientific view up in the sky), the high vs close-to-eye-level altitude flights (which incur solitude, hiding and being “invisible” vs becoming visible to the nearby observers and inevitably interacting with them), the simultaneous surveillance (observing while being observed, “surveilling” while being surveilled).


These works wish to provide ground for a double reflection, a broadened approach towards the ways of interpreting both the subject and the object of observation. Moreover, they wish to challenge the process of observation itself, for a more thorough understanding of our surroundings and, by extension, ourselves. 

The 14th Resolution

Made in Kuala Lumpur, during a 10-week residency at KLAF (Kuala Lumpur Architecture Festival), June 2018.

Funded by PAM & GDP Architects. 


The film is currently under final post-production and will soon be aired.  


Sound by The Cinematic Orchestra (Awakening of a Woman)


Exhibited/ screened at:


"Forever more images?" Symposium - Onassis Cultural Center (2019, GR)

Kuala Lumpur National Art Gallery (2018, MY)

PASSWORD: klaf18


Made in Taipei, during a 10-week residency at TAV (Taipei Artist Village), December 2017.

Funded by CFCCA (Centre for Chinese Contemporary Art). 


The film is currently under its final post-production. The published channels are earlier versions.  


Sound by


Exhibited/ screened at:


Kuala Lumpur National Art Gallery (2018, MY)

TU Graz Institute of Architecture and Media - Faculty of Architecture (2018, Austria) 

Taipei Artist Village (2017, TW)



Wěndìng Fánróng

Made in Hong Kong, during a 10-week residency at the Academy of Visual Arts, Hong Kong Baptist University (May 2017).

Funded by Hong Kong Baptist University. 

Sound by Jan Jelinek (Moire - Strings). 


Featured on: 


The Guardian -

Dezeen -
Archdaily -
Guardian Cities -


Exhibited/ screened at:


Kuala Lumpur National Art Gallery (2018, MY)

TU Graz Institute of Architecture and Media - Faculty of Architecture (2018, Austria) 

Roca London Gallery (2017, UK)

Venue Gallery (2017, Taipei, TW) 

Jiang Shan Yi Gai Suo (2017, Hsinchu, TW)

Taipei Artist Village (2017, TW)

310NXRD Gallery (2017, London, UK)

HK Baptist University - Academy of Visual Arts (2017, Hong Kong)