Lo’s preoccupation with place memory is rooted in its resistance to geographical and contextual mapping, resulting in paintings that register fractures of existence that are both impossible to negate and impossible to locate. Subject isolation is one of many tools Lo uses to establish an artistic practice in which emotions and personal experiences take on decisive importance. In more ways than one, Lo regards her paintings as forms of text that are open to and rely on viewer’s emotional interpretations. Her paintings are grounded in accounts of memory that emphasise its visceral and emotional qualities, promoting a form of viewing that is personal, relevant and open to negotiated meaning in an otherwise increasingly prescriptive educational world.

  

——       Natalie Ng , Odds and Ends