Artist talk with @evangeliadanadaki at The Doughnut (W)Hole this past weekend. Thank you to everyone who came out to Hapax Living Room, hope you enjoyed the talks and art. Our show, The Doughnut (W)Hole is open now online as part of the 7th edition of The Wrong Biennale. Link in my profile to see all 14 artists works. Together, our show explores whether absence is necessary for presence in the age of AI. In the words of our curator, “does our approach to the question reveal anything about how we regard holes — as simple ‘lack’, or as something altogether different, something essential for the whole? Do wholes need holes?”
Big thank you to @sarahjane.field and @kimshawphotographer for working so hard organizing, curating, and producing the whole show and in-person events at Hapax Living Room. Thank you to @cpmonarchi for the generosity of letting us use the Hapax space too. And thank you to @keerzhang.studio for taking some videos.
“I haunt myself” my new video work, showing in The Doughnut (W)Hole with @thewrong.biennale . And now selected as a finalist for the Kane Art Prize thank you @k.art.studio.uk . Links in bio to both the Kane Art Prize online showcase and also The The Doughnut (W)Hole online show.
I made dis cool motion poster hehe
Some things I did this year in art ~ lots of traveling, shooting, and time in the studio making cyanotypes. Working with memory and image mostly and released my new short film / moving image work, “I haunt myself”. Wrote a lot of articles for my Substack too. All cyanotypes are for sale too, $50 USD, £37.
1. Flower cyanotype in the studio
2. Pixel cloud cyanotype
3. Process vlog of making cyanotypes - find this video on my Substack, link in bio
4. Ways of Reflecting livestream performance, London → NAFA Singapore
5. Ways of Reflecting 2
6. UFO museum shoot in Fukushima
7. UFO museum
8. Beaches of Fukushima
9. Abandoned Ukedo School in Fukushima
10. Poster for my short film, I haunt myself
11. Trailer for I haunt myself
12. I haunt myself screenshot 1
13. I haunt myself screenshot 2
14. I haunt myself screenshot 3
15. Speaking at Hapax Living Room for The Doughnut (W)Hole exhibition
16. Photogrammetry after moving out of the studio
KANE Art Prize 2025 — Third Prize｜David Koh @koh.working 🏆
Awarded Work: I haunt myself (2025)
“I haunt myself” (2025) is a moving image work exploring how digital technology reshapes memory and presence. Through a dialogue between the artist and an AI-generated recreation of his voice, the film weaves a fragmented narrative composed of childhood archives, iPhone footage, and 1990s DV recordings.
By navigating this “endless archive,” the work critiques the flattening of lived experience into data. It suggests that genuine memory is not found in digital perfection, but in emotional texture and the “mess” of forgetting—arguing that true presence requires the freedom to let memories fade.
The awarded works will be presented in a physical exhibition.
📍Hackney Gallery, London E5 0NS
🗓9–10 February 2026
🌐Explore the Online Showcase via the link in our bio.
Last year, I committed to writing more long form essays and publishing them publicly. I sometimes feel like I’m never doing or publishing enough, I could always write faster or post more. But looking back, I managed to write 9 articles and edit 2 vlogs over the year. And I feel like I’m fairly happy with all of them, prioritizing quality over quantity. Here are all the articles I wrote - you can find all of them in full on my Substack, from the link in my bio.
My substack is my journal on what it means to be human in a hyper-digital world. it’s a mix of thought pieces, reflections, and updates on my art practice that describe how life and the individual are being changed by technology. Through many of my own experiences, I write about art, culture, health, wellbeing, psychology and being more mindful about constant connectivity and how it’s affecting us. Like and subscribe 😎
Some screenshots from my new moving image work, I haunt myself. Now showing online with The Doughnut (W)Hole exhibition as part of this year’s edition of The Wrong Biennale @thewrong.biennale . Link to watch the artwork in my profile.
I haunt myself - my new moving image work coming soon. Showing in The Doughnut (W)Hole exhibition as part of The Wrong Biennale 2025/26 @thewrong.biennale , beginning November 1st, online.
Throughout this year, I’ve been going around filming, documenting and archiving many parts of my life - thinking on the idea of what it means to experience life vs merely archive it.
In our digital and AI age, our relationship to time and memory has been altered. We no longer need to delete photos or memories. We can replay the past and nostalgia as much as we want. In the end, we become spectral to our own lived experiences, merely spectating them rather than living them. We are ghosts in our own present lives.
Does constant archiving and documenting lead to better memory? Or paradoxically, maybe memories need to be blurry in order for us to remember more.
If you’re in London, we’re having a pop-up event November 1st and 2nd at Hapax Living Room (Earl’s Court). Come in the morning for free viewing and mingling and sign up for the talks happening in the afternoons. I’ll be giving a talk Saturday afternoon with @evangeliadanadaki . More information in my profile links.
The exhibition I’ve been working towards the last few months is opening November 1st. “The Doughnut (W)Hole” will open online as a pavilion as part of the 7th edition of The Wrong Biennale @thewrong.biennale which The New York Times once described as the digital art world’s answer to the Venice Biennale.
We will have an in-person pop-up Saturday November 1st and Sunday November 2nd in London at Hapax Living Room SW6 1TT (near Earl’s Court, West Brompton). Please see the schedule for talks, socializing and other events. Tickets are free but book early since the space is small. Links to book and information about the show in my bio. There’ll be some open free viewing time each morning 10-12. I’ll be there most of the time that weekend so come by and say hiii and byeee.
My new video work “I haunt myself” will be part of the show which I’ll be posting more of soon.
Special shoutout and thank you to @sarahjane.field and @kimshawphotographer for organizing and curating the whole show of which I’m very honored to be a part of.
There’s a small bridge in London that I cross almost every other day. Ever since discovering it soon after I moved to London, I make it a point to stop and look at the view for a few minutes every time I cross it. I measure the seasons passing from this view. Summer is breathing its last breath in London. I can feel the Autumn chill in the air slowly blowing in. Sunny days punctuated with 20 minute downpours have now escalated to full on rainy days. I see the bushy tree on the left turn brown and lose its leaves every October. In the Summer, the bustle of people jogging or paddling in boats down the canal.
This viewpoint of the canal reminded me of David Hockney and Monet’s work and how they captured changes in the seasons. When Monet painted his haystack series, he wasn’t painting haystacks necessarily, but capturing the changing seasons, light, and time passing itself. In the same vein, Hockney often paints the immediacy of the moment - what’s right in front of him, whether that’s the trees and pools of Los Angeles, the friend that was visiting his studio, or the landscapes and weather of the countryside. Hockney has said:
“If it’s rainy I’ll draw the rain, if it’s sunny I’ll draw the sun… The world is very, very beautiful if you look at it, but most people don’t look very much.”
This year I wanted to create with more immediacy, paying more attention to the present and as Hockney says, just look and observe more. The year isn’t over yet, but the changes in the season right now are making me reflect more. It’s a reminder to pay attention more to what’s right in front of you before it changes once again.
New Substack article “Summer’s Last Breath” up on my Substack and link in my bio to read the whole essay. Sign up for my newsletter if you’d like to continue reading reflections of art, life, and media!
Thinking about how to stay present in today’s world. Are we experiencing the present or just capturing it with our cameras? New Substack article up online, link in my bio. This article is thinking about staying present in a world of noise, and if we’re able to experience it without words or needing to alchemise it with photo taking or any other interference.
There is a story floating on the internet which surfaces every once in a while. It’s a photo series that shows a Japanese woman posing on the street for photos taken from a building window above. Her husband, Japanese photographer Masahisa Fukase, took a photo of her, Yoko Miyoshi, everyday before she went to work. She poses cheekily with a different pose every time and it seems like a series about their loving relationship. But in actuality, their relationship was deeply unstable partly because the photographer, Fukase, always lived behind the camera instead of living the experience itself.
The Guardian quotes Fukase and has this to say:
“I work and photograph while hoping to stop everything,” he once said. “In that sense, my work may be some kind of revenge drama about living now.” If all photographers freeze-frame the world each time they press the shutter button, for Fukase the action seemed darkly loaded – as if through taking a photograph, he could somehow stop time passing.
Every act of creative alchemy, writing, painting, capturing through photography, is a shadow. Not the experience itself. Fukase tried to preserve his past experiences by turning fleeting moments into images. But by living solely behind the camera lens, he became haunted by absence instead of living with presence.
I feel that in learning how to be present, it also means learning to let go of the present.
