I come from Singapore. When I was 12, I wanted to become an ecologist. At various ages in no particular order, I failed variously to be comedian, musician, writer, philosopher, dramatist, painter, restauranteur, vegan, knowledgeable, lovable, just, helpful. These failures are only current until I succeed. Professionally, I am usually known as a phonologist, because phonology is the area I published most. It's probably not where I am most interesting in cocktail conversations. As of 2022, I am 25 years old with 24 years of experience.

Upon the basis of theoretical phonological research drawn largely on Chinese languages and Asian Englishes, my work extends to the interface of linguistic tone with music, to the aesthetics of indigenized English poetry, and to the mutual enrichment of improvisation comedy, linguistics and human resource training. The relevance of my work beyond academic walls led to it being part of the Impact Case Study (Authentic Asian English Voices for the World, rated “internationally excellent”) for my department in the Hong Kong Research Assessment Exercise 2020. I am researcher and practitioner of the guqin, the epitomical musical instrument of traditional Chinese literati, an Intangible Cultural Heritage. I am a council member of the Choi Chang Sau Qin-Making Society, protected by the Ministry of Culture as a national-level unit for the eponymous art. My recent interest has been on less studied aspects of Hong Kong culture such as graffiti, kitchen stenography, etc.