In her presentation at the 58th Venice Biennale, the wall read “Nostalgia can be a poetic creation, an individual mechanism of survival, a countercultural practice, a poison, or a cure. It is up to us to take responsibility for our nostalgia and not let others 'prefabricate' it for us” (Svetlana Boym, “Nostalgia and Its Discontents,”2007).
It is through this sense of owned nostalgia that Heidi’s sculptural works take shape. Towering buildings shine in a state of decay with organic growth, misshapen from a feeling of both familiarity and longing. Drawing from her experiences living in both Macau and the US, Heidi’s practice is a reflection of what it is to be in-between, and of an ongoing search for home, as seen in snapshots of rapidly developed neighborhoods and post-colonialism in Macau.