CURRENT PROJECTS

 Behind the scenes of upcoming works & install processes

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Scenes of the Treasure House 2 channel projection  that depicts scenes of women's empowerment, peace and hope. Traditionally made by women, the paper-cuts are transformed into screens for the films. The films follow my creative process and journey of motherhood as everyday life is woven together with documentation of the social practice commissions. These commissions have supported indigenous peoples of China and Taiwan by honouring localised artforms made by the Hmong and Amis people.

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Originally the beading was used as currency similar to the shells. The Amis created their own beads the darker red bead & green beads where created or offerings ceremony & prayer. The beads are a symbol of status in the community, with beads being collected over time and with age.

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Today we had the privledge of working with the Orchid Weaver Women. Weavers who love dying & weaving from the Dulan Amis tribe. We were able to work alongside them, learning the plant medicines & technologies of nature. 

The women make localised works with a deep knowledge of the Amis culture. This collboration fosters & continues the spirit of mutual support & companionship within the tribe. Today was our first day of collaboration through the processes of natural fibre art that will become a central part of All The Good Dreams For Women exhibition for the  We/Women’s Boundary Narrative ~ Continuity, Flow and Convergence at the Taitung Art Museum in July 

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This work will become a part of  {Love and Hope~2022 World Women's Art Confluence Art Festival}, "We/Women's Boundary Narrative ~ Continuity, Flow and Convergence" exhibited at Taitung Art Museum, co-curated by #李云艺 & Zhang Huilan.

Showcasing artists from Taiwan,Japan & New Zealand, a total of 16 outstanding female artists will exhibit at the Taitung Art Museum. Bringing together the female artistic power of Taiwan and the world. Allowing the world to view contemporary female creations from different perspectives, This exhibition condenses the unique context of boundary dialogue and extension in contemporary female creations in Taiwan & beyond - YunYi Lee

Exhibition Venue: Taitung Art MuseumExhibition Date: #25 Jun to 4 Sep 2022

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Darwin Festival is an international arts festival with a local heart. An integral part of their mission is to support the presentation of Northern Territory artists & performers. Whilst proudly providing an high-profile national platform for local artists to showcase their talent alongside the best in current national & international touring work. Fly Me Up To Where You Are has collaborated with the festival & with Northern Territory schools to facilitate a collective expression of the Hopes & Dreams of the children of the Northern Territory & will be flying proud at the 2021 Darwin Festival.

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"Music has the potential to reach many more people with the message that the real source of happiness is warm - heartedness & a concern for others” - The Dalai Lama

As announced today, Hitco Entertainment and Khandro Music will release a unique album of mantras and teachings by The Dalai Lama set to music, entitled Inner World. Released to honor his 85th birthday celebrations on July 6th, 2020, the album will be a great dedication to the decades of his vision and work for world peace and educating the heart. When asked why he accepted the request to make the album, he answered, “The very purpose of my life is to serve as much as I can.” He also added, “Music can help people in a way that I can’t.” Inner World is an offering of the Dalai Lama reciting mantras and giving short teachings all woven to a bed of music.

The album will be released in conjunction with an Inner World companion booklet, revealing the benefits of the mantras written by Venerable Robina Courtin, and exclusive, stunning artwork; a collaboration between the acclaimed New Zealand duo of Ella Brewer (classically trained Thanka Painter) and Tiffany Singh (an award-winning visual artist). This particular work of theirs is a combination of traditional Tibetan and contemporary art.

The origins of Inner World began in 2015, when one of the project’s co-executive producers and a longtime student of The Dalai Lama, Junelle Kunin, wrote to him requesting his participation, by fervently explaining her feelings that an album by such a compassionate and wise being would help people particularly who struggle with emotional stress. After reading her letter, his response was enthusiastic, saying, “This will benefit many people!”. She and her husband Abraham Kunin, both from New Zealand, spent the next five years working with a small team to bring the project to life. The Dalai Lama’s recordings have been thread through music composed by Abraham and performed on thirty-plus instruments by himself and a cast of collaborators from around the world, including a special guest performance from Anoushka Shankar on “Ama La.” The composer integrated the live performances with artful programming and production, building a peaceful bedrock for these sacred offerings.

Net proceeds from the sales of Inner World will go to The Gaden Phodrang Foundation of the Dalai Lama (Switzerland) chosen program: Social, Emotional and Ethical Learning (SEE Learning), an international K-12 education program and part of an academic collaboration between Emory University and His Holiness; and Mind and Life Institute, which brings science & contemplative wisdom together to better understand the mind & create positive change in the world.

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Total Internal Reflection explores how engaging with the arts can improve physical and mental health. The artwork offers an expression of our collective well-being through the device of an audience generated colour field. Each colour selected for Total internal reflection is captured in real time – a record of how visitors are collectively shaping the artwork. This data is available in open source for creative reuse. 

This photographic documentation captured by Eve Wereta. Eve is an artist who creates paintings, photos and mixed media artworks. With a conceptual approach, Eve engages a wide range of subjects in a multi-layered way.​ Her conceptual artworks are based on inspiring situation: visions that reflect an impression of contemplation, combined with subtle details of odd or eccentric, humouristic elements.​ Eve’s latest self portrait work ‘The Diaries of a Mad Woman’ deals with her own experiences of mental distress, using art as a form of therapy to illustrate her thoughts and ideals.​

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RESIDENCY AT BANGKOK 1899 During her three-month residency, Singh has used her multidisciplinary approach to transform Bangkok 1899 into an immersive Social Practice Hub. Looking after her two young children while simultaneously building this exhibition, she exemplifies a new contemporary art paradigm to enable women artists, who are also mothers, to live and work in a supportive residency environment. 

This new suite of work explores the narrative of Women’s Liberation through objects of the domestic. From multiple collaborations with other women artists, Singh and Chang map out factors that affect how women participate in various artistic disciplines. These relationships provide a narrative around the history, identity and technical skills related to the production of so-called “women’s” work. Through performative aspects and subtle gestures, The Pink Period provides an opportunity to learn about, and to address issues that affect women artists. 

Developed through the collaborative project Women’s Art Project Asia during a residency at Taipei Artist Village (Taiwan). Singh invited her collaborator Taiwanese artist Jui-Pin Chang to build upon their existing research to delve further into societal expectations, family obligations and being classified as a minority voice within the art world to produce the first iteration of The PInk Period for the Grand Opening of bangkok 1899.

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The way we consume and think about art and culture in recent years has moved toward the participatory. Perhaps this is in response to the isolating aspects of our digitized lives. For The Pink Period the artworks are created in a move towards the literal. Works that hold physical and emotional expressions of time and that move through a time-based experience. The work is born to expire, enacting the cycle of composing and decomposing all at once. This is a natural cycle replicates the cycles of life and relies on documentation as part of the archiving process to become a part of the artworks own life cycle.  These images of the work life cycle show the daily offerings and maintenance to keep the work alive over the 14 day life cycle of the opening phase of the exhibition. The performative aspects invited viewers to light candles, incense and make offerings.

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The dialogue among artists, collectors, viewer/participants, critics and museums is a major way that ephemeral art stays relevant and connected to its culture. The residue of that dialogue lies in our memory and can be recalled when we encounter the work again in other contexts. This is the premise of the final presentation of The Pink Period where the life cycle of the work has been filmed then projected into the final gallery presentation. This formalised version communicates a time based narrative through film, the collective incense sticks the burnt down candles, with the rehanging of the doormat work Cut Stitch and Braid previously exhibited on the floor, as fine art works on the walls.

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THE PINK PERIOD September 7 – November 10, 2019 Bangkok 1899 // Thailand

CUT, STITCH & BRAID, 2019 upcycled textiles produced in collaboration with CHAMALiiN and the Pakistani community Intensively partnering with a cross-section of communities in Bangkok, the artists responded to pieces produced inside women-led cottage industries to create the final series presented here. Modernization has changed how items are made, leading to a loss of culture in many communities, as hands are replaced by machines. The embroidery seen on the mats illustrates this paradigm shift. The chosen quotes are lifted from interviews with women artists that took place during Singh’s and Changs research and development phase at the Taipei Artist Village in collaboration with the Taiwan Women's Art Association and Creative New Zealand. The doormats are made using all upcycled material to reflect the age-old process of breathing new life into well-used objects.

Requiring a gesture from the audience, this work requests that you make a choice: whether or not to “walk over” women’s work. This simple decision was documented to inform future iterations.

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THE PINK PERIOD September 7 – November 10, 2019 Bangkok 1899 // Thailand

RED CARPET, 2019 Textiles produced in collaboration with CHAMALiiN and the Pakistani community The “red carpet” is a central symbol to elevate the world view of artwork made by women. This pays tribute to traditional roles passed down from generation to generation, from mother to daughter. As women bartered their expertise in skill with one another, decorative needlework became a valued commodity. The narrative of this work speaks to the beginning of Women’s Liberation through industry driven opportunity. Red Carpet was created by piecing together textiles produced by women from various time periods, countries and cultures, making a space for women to respond to their identities as artists and artisans. Requiring a gesture from the audience, this work requests that you make a choice: whether or not to “walk over” women’s work. This simple decision was  documented to inform future iterations.

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THE PINK PERIOD September 7 – November 10, 2019 Bangkok 1899 // Thailand

ENERGY, WATER & EARTH, 2019 pressed metal, water, flowers, candles, incense, rice, day old materials from the domestic altar Energy, Water & Earth exists as an elemental representation of the interconnectivity of all things. All five elements are represented within this work, however, water is the most predominant, as it is the most Yin and most feminine. Water, as the tide, has a deep association to the moon, pushing downward and inward, transmitting stillness and conserving energy. The work itself maps out collaborative processes, strategic partnerships and the “velvet triangles of empowerment” associated with feminist critical theory.

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THE PINK PERIOD September 7 – November 10, 2019 Bangkok 1899 // Thailand

DOMESTIC ALTAR 2019 pressed metal, water, flowers, candles, rice, chili, lemongrass, thai basil, peppercorns, sage, lotus Interspersed between the works lies the domestic altar. Constructed from common Thai pressed metal bowls and cups. These stacked vessels mirror the stupa form as a way of referencing the form of the Thai Buddhist Stupa. The Domestic altar is a reminder to the offerings Mother Earth presents and the domestic rituals that connect and bind us.

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THE PINK PERIOD September 7 – November 10, 2019 Bangkok 1899 // Thailand

MAIDEN, MOTHER & CRONE, 2019 rose quartz, clear quartz, moonstone, metal This offering of moonstone and quartz honours the Yin energy. The role of the crystals is to harness and ground the properties of the feminine: intuition, compassion and wisdom. This elemental work aligns with the moon’s cyclic phases, as it orbits the earth  — the waxing crescent, the Full Moon, and the waning crescent. These aspects also represent the three phases of a woman’s life in terms of physical reproduction—before, during, and after the body’s ability to have a child.

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THE PINK PERIOD September 7 – November 10, 2019 Bangkok 1899 // Thailand

TALKING BOX, 2019 wooden plinth, wooden box, speaker, sewing materials, audio from interviews with Margaret Chui, Peng Yiping and Xiaohuahua in collaboration with The Taipei Women’s Art Association This work explores women’s relationship to objects of the domestic by providing a narrative around the history, identity and technical skills related to producing so-called “women’s work.” The artist invites you to lift the lid to listen to issues that affect women artists today. The performative aspect of maintaining this altar daily signals the many domestic responsibilities that women carry.

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THE PINK PERIOD September 7 – November 10, 2019 Bangkok 1899 // Thailand

TRANSMISSIONS, 2019 papercut, single channel video Examining notions of time, travel and motherhood, Transmissions explores the challenges women face in conjunction with the long-lasting flexibility and strength of Eastern traditions. Hieronymus Bosch’s The Garden of Earthly Delights (c. 1517) is transformed into an intricate, papercut screen to form a worldly, personal paradise. In this installation, soft thin paper is cut hollow. This process conveys a long-term unremitting labor that exemplifies lasting patience. The cut out trees, flowers, figures and cities nurture the projected video, portraying the intimacy of everyday life, and the many roles a woman must fulfill in order to reach her desires in a professional, artistic career.

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Stills from the intimate moments of life. As a professional artist and mother and glimpses of daily life of the women around us. All captured by Cat Costa a self-taught photographer who draws inspiration through interacting with her subjects drawing on their personal narratives to inform the nature of her work. Her love affair with portrait photography began at a young age, often finding her family and friends as central figures. Today, Cat has managed to amass a large portfolio spanning from commercial to artistic, and specializing in creating mood and light on individual subjects. Cat is Thai-American, who was born and raised in Norfolk, Virginia. In 2009 she relocated to Bangkok for University, she has remained there since. Her journey and struggles found between Eastern -Western culture is a theme she often explores through her body of work.

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Extending the collaboration, talented Thai-American  photographer Cat Costa contributed to the project with her excellent eye for detail finding in beauty in moments of the everyday.