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The work uses wire cords and electricity plugs to create a simulation of ‘Ikebana’ on a ceramic vessel. ‘Ikebana’, which stands for the Japanese art of flower arrangement, emphasizes spirituality, such as learning to appreciate certain things such as nature and beauty of shapes of flowers, those things of which people normally ignore. ‘Ikebana’ can also be translated as “giving life to flowers” also demonstrates the artist’ intention for the awareness of parasitic elements in the sculpture to thrive in the installation.

 

Greater Occupant talks about the relationship between humans and the digital age where the blurred definition of parasite and its host exists. The work is a metaphorical presentation of the digital age being a parasitic fungus that infects a working ant, resulting in the formation of a fruiting body growing from the ant’s head. In reality, the attraction and dependency to the digital age is becoming an invisible parasite that manifests and grows with the aid of humans. Just like social media profiles and digital archives, it may be considered the afterlife remains that will continue to evolve after the death of the individual. The parasite then becomes a greater occupant in comparison to the contribution of its host to building its identity.

 

Artwork production in courtesy of Thow Kwang Pottery Jungle.