Natalie’s work is never the same; it is continuing developing, adapting and evolving. I find it fascinating she cannot pick a favourite medium and experimentation tends to lead her to all sorts of new artistic dimensions. What is consistent however, is how Natalie seems to make pieces with cultural, whether localised or global, connotations. I would speculate whether it comes from Natalie’s outlook from splitting her time between Hong Kong and London. Natalie noted that “both cities are amazing in their own unique ways. Hong Kong is intense, efficient and it's easy to meet people.

From my series “The Quiet Spring,” the beginnings of the virus can be seen — at the time it wasn’t perceived as too serious and no one could predict that just two months later, it would become a global pandemic. The development of the epidemic inspired several series of large- and small-scale ink paintings with profound reflections.

My latest project Abundance opened as an online exhibition with Patel Gallery for the 2020 Scotiabank CONTACT Photography Festival. Featuring new sculptural, photographic and installation-based works, Abundance is a cyclical reflection on two actions: my relatives bringing pieces of cut fruit in my youth, and me leaving fruit offerings at ancestral graves.