Homework, 2023
Homework reclaims bodily safety by exposing histories of child abuse. Hamsa invokes the contemplation of domestic violence by using nostalgia and memory as performers to grieve the collective skin.
The aftermath of the performance creates an organic installation consisting of the found objects — iconic grass and palm brooms, and a wooden chair.
Artist Talkback — Mingei International Musuem
can’t you just change jobs, 2024
Hamsa compels audiences with her ode to Vietnamese women and fruit sellers. She questions the generational inheritance of lethargy, scarcity, and survival through her movement and vocal performance with the ball and chain. She sings the words, mua cho bà con ơi / oh child, buy these from me (because I need the money) as a bridge for re-narration.
The performance is comprised of found objects — seventeen braided '“Thank You” bags into a frozen durian fruit, and an improvised hair pin.
at Bread & Salt with Project [BLANK] by Robbie Bui
“Her movements are both elegant and ungainly, rendering moments for both instinctive reaction and designed transcendence.”
— Seth Combs of the San Diego Union Tribune
when no one is watching, 2024
Debuting at her first solo exhibition, Trans Aphrodisia, Hamsa performs with the live webcam site, Chatroulette, to explore the politics and paradoxes of the trans body with strangers from various cities. when no one is watching surveys the philosophy of gender through the reactions of online and live audiences, and questions who is actually performing — audience, stranger, or Hamsa.
She installs the work alongside various screens to function as a cyber meta mirror of her subconscious world. The piece challenges reality while in technological shadows, and how human consciousness morphs to fulfill needs of gratification and connection.
artist talkback — by Brad V. alongside Carmela of PACARTS
at the Brown Building documented by Jun!yi Min
Yet another (Birth Of), 2024
Hamsa collaborates with Tarrah Aroonsakal in closing their exhibition, Through the Maze, while combining static movement and vocal performance. The installation, made up of found objects that reminisce the Asian household, offer audiences through the neo-patriot journey of whitewashing and anti-blackness. Hamsa 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 hold unprocessed grief. The performance mimics an altar, where divinity is stripped in place of despair. The nude body in bathtub gestures a fresh start and the (non)consensual sacrifices of one’s indigeneity to assimilate.
at Anthenaeum Center shot by Krysada Phuonsiri
the wind was just like them, 2024
at Mingei Museum shot by Terry Smith
