 I'm going to present like a really whirlwind, brief sort of overview of my artwork from the early 90s and it's a lot of images, so I'm sorry it's just going to, I'm kind of going to whiz through it. I'm based in Melbourne, Australia. I was born in Hong Kong but my family sort of did multiple migrating and ended up in Australia. I wanted to show the development of my work, also the diversity of media and exhibiting in different types of spaces and an important aspect of my work has always been exploring issues relating to cultural identity and referring to family history, text, language, migration, a sense of belonging, looking at hybrid identity, including mixed blood, race, issues and sort of a kind of hybrid space that I feel that sometimes people have to negotiate when they might feel in between cultures, countries and locations. So this work is basically my work from the early 90s showing a period of sort of experimentation using craft fabric materials and soft fabrics and looking at crossovers between Chinese imagery and Celtic imagery, which is a reflection of my background. My mother's Chinese from Malaysia and my father is Welsh. I started looking at Chinese symbols and both characters and animals and this is like a combination of Chinese symbols and Celtic lettering. This works from 1994 and was called Shoes for Bound Feet with Unbound Feet and it's a direct reference to the practice of foot binding which my great grandmother had her feet bound as a child and then unbound in the 1930s when the practice was outlawed. So I was sort of thinking about the way the feet had been manipulated and deformed and then what would happen when they were unbound. They were already broken and deformed. This is from an early exhibition at an artist-run space in Melbourne, Australia and it has shows a variety of work, different media. This work is called 20 Words and sort of relates to my interest in looking at Chinese text and calligraphy and it references my kind of coming to look at Chinese text from a drawing perspective because I didn't grow up speaking or writing Chinese and it looks at the fact that my grandfather was sort of the last family member to write and he also was a very good calligrapher and Chinese painter as well as being a dentist and some of his works have influenced my work. The character you see is also means dragon which is part of his name and in 1995 this is sort of a continuation of that work. I spent some time in China and again it's looking at Chinese text and this is I wanted the viewer to walk into the gallery and be like be surrounded by like you're in walking into a giant book and it was based on the textbooks that I was looking at to learn Chinese that had Chinese characters in the printed form and English and but it had this sort of odd inclusion of kind of slightly western punctuation as well and this was called the foolish old man removes the mountains which is an old Chinese fable and continuing on from that I started doing wall drawings this is all made from chenille sticks which are also called pipe cleaners basically now they're a kids craft material and they have you know the fluffy sort of fluffiness is around wire so you can manipulate them and I bent them into and twisted them and trimmed them to replicate the ink sort of brushstrokes of Chinese characters. This shows like my grandfather's scroll painting and I've reproduced the poem in chenille sticks and they're directly pinned on the wall and this is called what people and I guess this is more directly about issues to do with xenophobia and I guess all the characters that I created one was an alien and there was a male a female and a younger female character and they all had the characters for what sort of emblazoned on their heads and it was kind of like a kind of defiant you know looking back at the viewer and to that question that people you know quite often would ask like where are you from which sometimes can feel like you know what are you this is called what girl what did you say and I guess this is kind of the start of you know there's obvious comic book influence kind of warrior girl figure kind of yeah punching out this is a sort of installation of stencil spray paint I started using spray paint around 97 and sort of a mixture of symbols this work is a combination of ink and spray paint on paper and shows the sort of warrior figure girl and the writing says I am Australian so it's sort of kind of about cultural identity in Australia this work is based on the birth of my son in 1999 and was also ink and spray paint on paper these were soft weapons that I made like I hand sewed out of fabric this works called Lee G warrior girl and I made a animated video in the year 2000 this is one of the stills from the video and it's sort of inspired by a fourth century Chinese story about a girl who saves her whole village by slaying a giant python that's been ritually eating young women that's another still from the video which I kind of like combining traditional and contemporary imagery so in the video the ancient warrior girl is transformed into a contemporary Melbourne girl and has these flashbacks to a past life and that's the installation of the the images and I had the video running that's my son there actually when he was smaller and then in the around year 2001 I sort of had a return to painting after avoiding it for many years and this was called guardian dog and I was interested in imagery of like for protection and luck um this is called welcome and sort of directly referenced the issues of immigration and also refugees and asylum seekers in Australia and it's sort of yes I got the defiant kind of strong female figure in the centre these works also continue with the guardian dog that's and then it's a reworking of a traditional Chinese print with the image of my son and fish and I've been very interested in symbols for luck and to give positive vibes and energy and I feel like you know in this mixed up world that we need more sorry that image is actually sort of reworking of a traditional Chinese god but using the sort of like a portrait of my husband this work well actually this shows Amsterdam I had a large video installation in the year 2002 called from the lives of Liji and I sort of transformed the figure from the fourth century story into different lives and multiple time frames this is another work called a hundred forms of happiness and looking at Taoist imagery I recreated the characters and they all represent happiness in different ways different symbols it's the same work reinstalled that's the video blown up and shown on the Liverpool holiday in and these are more works from 2002 you see the female figure sort of in different appearances and I've been quite interested in in kind of playing with hybrid looking at hybrid identity and this is also the video projected this is also from around 2004 I had a three month residency in Harlem here in New York for three yeah three months and created quite a large body of work after that I was really inspired by the different the mix of cultures and this was called hybrid faces project because I wanted to kind of use this template but mix up hairstyles and skin colors and different fashions I guess and I liked the fact that the figures are kind of you know you can't quite pin you know where they might be from they could be a mix of of any number of different cultures and I guess that relates to personal experience with people kind of not knowing where I might be from being a mix and quite often people don't think that I'm Asian they might when I was living in Harlem most people you know would speak to me in Spanish or you know or like think I'm Latin American and I like I like that that you know you can't it's sort of you know you can't be defined and this is called ancestral dream and I guess that is like looking at you know that your family might have so many different sort of lines of people from different places and quite often we don't even know where it is from that's the video and this was a show in New Zealand in Christchurch where I combined wall painting and draw the stencils with images this is the most sort of recent work that I guess relates to the work in this show as well and this is called peacekeeping forces and the images on her back are based like female versions of the traditional Chinese guardian figures and I want to you know to transform them to be female warrior figures and this is called auspicious nine because nine is considered a lucky number in in Chinese culture and it relates to my own birth date and and I wanted to just sort of have this set stage sort of set with all these symbols and animals for luck and good energy so there's bats are considered a symbol of happiness in Chinese imagery and the dog again there's a tiger and there's various talismans for protecting the body and for basically yep for good fortune so and that's basically yeah leave this work that I have in the show here I made especially for global feminisms I wanted to make new work and there are nine sort of portraits of different female figures mixing up traditional and contemporary forms and styles and and yeah I made it especially for global feminisms thank you