︎

Acknowledgements

Acknowledgement of people and entities

Contact


Acknowledgement of
Land

LOVE
ME
LONG
TIME




What does pursuing joy look like as we reflect on the recent rise of gendered, anti-Asian violence? How do we, as frequent objects of desire, reclaim the gaze as active subjects? What makes us feel good? What do we want?






















Love Me Long Time (2021 – ongoing) is an audiovisual project that examines overlapping themes of desire, intimacy, and Asian identity through portraits and oral interviews with Asian diasporic / Asian-Australian women and nonbinary people.

While there are no resolute answers, I hope that this work offers a catalyst for conversation, where we are free to hold our own ambiguous truths. Ultimately, it is a collaborative archive that rewrites desire from our perspective, offering dynamic realities in place of flattened tropes.

CW: Sex, anti-asian racism, sexism, disordered eating.
A Very Big Thank You to

Aaqila,
Allison,
Annie,
Chrystal,
Cilla,
Gigi,
Grace,
Ham,
Jean,
Joy,
Kar Mun,
Kim,
Lucia,
Mariam,
Michelle,
Misha,
Monisha,
Natesha,
Non,
Radhiah,
Reina,
Sol,
Victoria,
Yen

for their generous gifts of time
and trust,

Janey Li,

for her inimitable website designing skills, creativity, and kindness,

Johanna Bear
and Runway Journal

for supporting the project’s initial stages,

Alina Wang,
Alejandro Saavedra,
David Chan Jr,
Grace Chen,
JoyAngelica Chan,
Lisa Kato,
Lexie Deng,
Lucia Tường Vy Nguyễn,
Natesha Somasundaram,
Ron Tarver, and
Wendy Wu,

for nourishing my soul,

Reina Takeuchi, Zev Tropp, Con Gerakaris, and 4A Centre for Contemporary Asian Art

for their support and faith,

Holly Farrell and The Lock-Up 

for the time and space,

Finally — 
—


My parents,

Chua Siew Lee
and Tang Soon Fatt

for never pressuring me to be a doctor or lawyer. 



Love Me Long Time has been produced on the stolen lands of the Gadigal and Bidjigal people of the Eora nation; the Burramattagal and Wangal people of the Darug nation; the Awabakal people; and the Wurundjeri people of the Kulin nation. 

We would like to pay our respects to the elders of these Nations — past, present, and emerging — and to any other Aboriginal and Torres Strait Islander people encountering this work.

This Acknowledgement of Land highlights colonialism as an ongoing process and how non-white, non-Indigenous people continue to contribute to and benefit from it. We hope to acknowledge the theft and violence inherent to our settlement of these lands. 

LOVE ME
LONG TIME

Acknowledgements Contact

Acknowledgement of people and entities


A Very Big Thank You to:

Aaqila,
Allison,
Annie,
Chrystal,
Cilla,
Gigi,
 Grace,
Ham,
Jean,
Joy,
Kar Mun,
 Kim,
 Lucia,
Mariam,
Michelle,
Misha,
 Monisha,
Natesha,
 Non,
Radhiah,
 Reina,
 Sol,
Victoria,
Yen

for their generous gifts of time and trust,

Janey Li,

for her inimitable website designing skills, creativity, and kindness,

Johanna Bear and
Runway Journal

for supporting the project’s initial stages,

Alina Wang,
Alejandro Saavedra,
David Chan Jr,
Grace Chen,
JoyAngelica Chan,
Lisa Kato,
Lexie Deng,
Lucia Tường Vy Nguyễn,
Natesha Somasundaram,
Ron Tarver, and
Wendy Wu,

for supporting my soul,

Reina Takeuchi, Zev Tropp, Con Gerakaris, and 4A Centre for Contemporary Asian Art

for their support and faith,

        Holly Farrell and The Lock-Up


for the time and space,

Finally — 
My parents,

Chua Siew Lee and
Tang Soon Fatt

for never pressuring me to be a doctor or lawyer.




















Acknowledgement of Land


Love Me Long Time has been produced on the stolen lands of Gadigal and Bidjigal people of the Eora nation; the Burramattagal and Wangal people of the Darug nation; the Awabakal people; and the Wurundjeri people of the Kulin nation.

We would like to pay our respects to the elders of these Nations — past, present, and emerging — and to any other Aboriginal and Torres Strait Islander people encountering this work.

This Acknowledgement of Land highlights colonialism as an ongoing process and how non-white, non-Indigenous people continue to contribute to and benefit from it. We hope to acknowledge the theft and violence inherent to our settlement of these lands.






Love Me Long Time has been produced on the stolen lands of Gadigal and Bidjigal people of the Eora Nation and the Burramattagal and Wangal people of the Darug Nation.


We would like to pay our respects to the elders of these Nations - past, present, and emerging - and to any other Aboriginal and Torres Strait Islander people encountering this work.


This Acknowledgement of Land highlights colonialism as an ongoing process and how non-white, non-Indigenous people continue to contribute to and benefit from it. We hope to acknowledge the theft and violence inherent to our settlement of these lands.

Love Me Long Time has been produced on the stolen lands of Gadigal and Bidjigal people of the Eora Nation and the Burramattagal and Wangal people of the Darug Nation.


We would like to pay our respects to the elders of these Nations - past, present, and emerging - and to any other Aboriginal and Torres Strait Islander people encountering this work.


This Acknowledgement of Land highlights colonialism as an ongoing process and how non-white, non-Indigenous people continue to contribute to and benefit from it. We hope to acknowledge the theft and violence inherent to our settlement of these lands.

Acknowledgement of people and entities

Love Me Long Time has been produced on the stolen lands of Gadigal and Bidjigal people of the Eora Nation and the Burramattagal and Wangal people of the Darug Nation.

We would like to pay our respects to the elders of these Nations — past, present, and emerging — and to any other Aboriginal and Torres Strait Islander people encountering this work.

This Acknowledgement of Land highlights colonialism as an ongoing process and how non-white, non-Indigenous people continue to contribute to and benefit from it. We hope to acknowledge the theft and violence inherent to our settlement of these lands.