Homework, 2023
live performance + sculpture, 11 minutes. Commission for Queering the Table, an exhibition at the Mingei International Museum. 2023. three grass brooms and a wooden chair.
Homework reclaims bodily safety by exposing histories of child abuse in Vietnamese and diasporic immigrant communities. The performance contemplates how violent discipline is stored in collective skin, and remains repetitively cursed in the body for generational patterning. She re-programs body-pain relationships by transforming the objecthood of brooms with somatic sequences of movement — striking, sweeping, and resting. The work creates a ceremony space where audiences can grieve repressed memory, and process the future of parent and guardianship.
can’t you just change jobs, 2024
documentation by Tommy Bui
“She moves both elegantly and ungainly within a performance, rendering moments of both instinctive reaction and designed transcendence. ”
live performance + sculpture, 11 minutes. Debuted at PROJECT [BLANK], a performance exhibition at Bread & Salt + commissioned for the closing performance of 17th Annual Dia de la Mujer at The FRONT Arte & Cultura. 2024. seventeen braided “Thank You” bags into a frozen durian fruit, and an improvised hair pin.
can’t you just change jobs compels audiences with an ode to Vietnamese women and fruit sellers. The work releases the generational inheritance of lethargy, scarcity, and childbirth for survival. The work sings the words, mua cho bà con ơi / oh child, buy these from me (because I need the money), in repetition as a labor prayer to engage with audience members as passerby customers.
when no one is watching, 2024
documentation by Jun!yi Min
live performance + video installation, 44 minutes. Debut solo exhibition, Trans Aphrodisia, at The Brown Building. 2024.
when no one is watching uses the webcam site, Chatroulette, to explore the fetishization of the femme body with randomized strangers. The work experiments with questioning the online male gaze while live audiences survey responses around transphobia/philia. The performance further challenges intimacy contracts and expectations while in technological shadows, and how human consciousness morphs to fulfill needs of self-gratification.
Yet another birth of, 2024
documentation by Krysada Phuonsiri
live performance + installation, 33 minutes. Closing performance for Through the Maze, in collaboration with Tarrah Aroonsakal, at The Athenaeum Center. 2024. rice, honey, condensed milk.
The maze installation is made up of found objects that reminisce the Asian American household — to offer audiences a journey through neo-patriotism, whitewashing, and anti-blackness. The work uses the cultural mythology of Aphrodite as trans body to contemplate the (non)consensual sacrifices of one’s indigeneity for Western assimilation. fae fasts sugar for thirty days to use honey and condensed milk as performers of the American Dream — sugar as an agent to freeze the psyche and one’s agency. The performance ritualizes stage as altar, where divinity is stripped in place of collective despair.
the wind was just like them, 2024
documentation by Terry Smith
by Sanchez Productions
live performance + installation, 8 minutes. Commission for LIMINAL SPACE at The Mingei International Museum and Disco Riot at Queer Mvmt Festival. 2024. electrical fan, dozen eggs.
the wind was just like them is an interdisciplinary performance that combines live vocal sounds distorted into an electrical fan and experimental movement with a dozen eggs. The ritual-performance uses trans joy to subconsciously detonate the 35 million landmines still hidden in the countryside of Vietnam after the Vietnam War (1955-1975). With year 2025 being the 50th anniversary of the fall of Saigon, the work questions one’s displaced and diasporic (dis)connection to homeland. Using the traditions of their paternal grandmother, she researches movement languages rooted in Daoism, especially the concept of spirals and unicity, to help express the freedom for re-narrating memories of sudden death.
GIRL VOICE, 2025
“This is not just a performance. It is an invocation. It demands that we listen with more than our ears, to consider how voice and body are policed, fetishized, liberated, and reimagined. It leaves the audience suspended in a liminal space between the known and the wild, the human and the elemental.”
documentation by Misun Jin
live performance + sound installation, 22 minutes. Feminism Is Not Your Enemy, AHL Foundation. 2025. found shell, rabbit fur hide.