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This series captures being enclosed in a bubble of obliviousness and overlooking environmental harm. Inspired by Daphne du Maurier's The Birds, the images follow a progression from initial ignorance, through growing awareness, to escalating crisis as damage becomes irreversible. Bird imagery signals the shift from comfort to crisis, while increasingly saturated colors and vertical lines evoke a growing storm, reflecting how chaos intensifies and permeates into our world when harm is ignored.

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01/2025, Edited Digital Photography (37.5 x 66.6 cm)

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Barullo captures my experience of Hong Kong, a place full of life and difference. Time allows us to experience things and preserve memories. This watercolor on paper reflects how moments become embedded in us, shaping who we are. What time gives us is the ability to witness, to feel, and to carry those experiences forward. Through this piece, I celebrate how time enriches our lives with color and movement

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Since coming back to school, a lot has changed, not only spiritually but also physically. That also counts my daily physical space. “My room” explores the movement of time and the change it brings, shown in two static “shots” of my room in the span of 3 months. It aims to evoke memory and nostalgia, and explore the static ways of showing movement. The medium serves as a symbolic link to the movement of time, highlighting the practice of etching and the time it takes.

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This collage captures my identity in vivid layers. The background, a stark black-and-white, reflects my conscious thoughts and past dreams, dimmed by societal norms. In contrast, the vibrant foreground bursts with my subconscious—blooming with family, music, flowers, fashion, and art, the people and passions that color my world. Scattered words, without fixed meaning, echo the small, daily joys that uplift my life, weaving a tapestry of memory, hope, and the beauty of the everyday.

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Charlie Kirk’s death in 2025 inspired this piece. Despite knowing he was not an upright person, I felt unsettled to see people celebrate and ridicule his death. Viewers are incorporated with the crowd around a person lying dead on the grass, their head blasted violently. The blasted head is a playful and ironic euphemism for a violent death. The crowd remain indifferent despite the shocking image, and is depicted in a grayscale palette to show their apathy and the complexity of morality.

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01/2026, Acrylic paint on loose canvas, 142 x 90 cm

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I always liked nature and rural areas over the city, the green fields drape over me like blankets, symbolising the comfort nature provides me. In recent years, I have been greatly saddened by the urbanisation of rural areas. Construction and buildings encroach on and remove greenery, replaced with buildings to represent urbanisation and the loss of nature. Reductive printing emulates stripping away nature to reveal barren land, with the linoblock as a warning about urbanisation's consequences.

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10/2025, Reductive Linocut print on Newsprint, 45.7 x 31 cm

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This drawing focuses on looking deeper to discover personal identity. Referencing the style of Leonard Foujita, the work has a reflective and contemplative atmosphere to emphasize the search for self, furthered by the use of a framed mirror as the base of the artist’s self portrait. Within the illustration, the artist has also incorporated specific motifs and objects with both Eastern and Western influence that hint at personal aspects of her life to contribute to a sense of individuality.

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In this artwork, the artist conveys gratitude towards her nanny who has raised her. Blending Western watercolor with elements of traditional Chinese painting, the piece emulates the composition of Giuseppe Castiglione’s “Gathering of Auspicious Signs”. The artist includes objects that demonstrate reflection and growth, tying into her gratefulness for how her nanny has taken care of her, as represented by symbols that allude to arranging the artist’s hair throughout different stages of her life.

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12/2024, Watercolor on Paper Further Edited on Procreate, 2365 x 3507 pixels

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This piece is a response to my earlier work “An Innocent Mistake.” It is designed to be viewed from within the cage. Inspired by the shape of Chinese bird cages, the wire walls are replaced with rope, commonly found in bird toys. The rope serves as a reminder of a cherished pet lost, symbolising the haunting emotions of grief and guilt that keep one confined. Meanwhile, my new pet bird nibbles at the rope, striving to break through my sadness. Ultimately, it is up to me to step out of the cage.

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03/2025, Plastic hula hoops, cotton rope, handmade bird out of metal wire, newspaper, tape, air-dry clay, acrylic paint, 90 x 167 x 90 cm

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Influenced by Yeonghye in Han Kang's The Vegetarian, this work suggests liberation comes from merging with nature. Digital editing of the photographs blurs the line between the human body and nature, creating an image that feels both familiar and surreal. This distortion invites viewers to feel nature permeate their senses, encouraging an active awareness of the environment.

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08/25, Edited Digital Photography (29.7cm x 42cm)

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Inspired by Emily Lamb, this piece is dedicated to my mother who raised me with love and tenderness, breaking the cycle of abuse inherited from my foremothers. My mother and foremothers are portrayed as lionesses, among nature's most formidable caregivers. Lions carry their cubs by the neck, representing the controlling and sometimes painful facets of parenting that arise from love. The daisies symbolise a fresh start, highlighting the hope and what can be gained from loss. (THIS PIECE IS NOT FOR SALE)

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11/2024, Acrylic paint on canvas, 29.7 x 42 x 4 cm

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Intro to Painting - Final Piece (9 Dec 2024 at 10_02)

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Departure and Destination (Not for Sale)

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Departure and Destination (Not for Sale)

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This digital illustration looks at identity through pain as a formative aspect. Imitating the style of Matt Schu, the incorporation of plane windows expresses the pain of leaving things behind, but the necessity of doing so to reach new destinations, with the digital medium itself signifying departure from tradition.Weather and other symbols portray a shift in attitude and mindset, from one of pain to hope. A recurring hand motif, as seen in the artist’s other works, personalizes the concept.

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01/2025, Digital Illustration on Procreate, 3508 x 2480 pixels

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Resembling Joseph Cornell’s assemblages, this work communicates growing from pain – as seen in the artist’s digital illustration “Departure and Destination” – through the symbols of the nest, branch, and bird which create a bottom-left to top-right direction. It references the Japanese tradition Kintsugi, reframing cracks as beautiful. Symbols such as candles and a star suggest enlightenment. A Ming vase and a pocketwatch reflect their Chinese heritage and Western exposure respectively.

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04/2025, Acrylic and gold leaf on found wooden wine box, found objects including candles, branch, nest, stone, locket, brass bird, pocket watch, rope, and color pencil drawings on paper, 35 x 45 x 13.5 cm

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This piece shows how troubled I am by my scars and bruises. The positioning of the hand suggests a movement towards erasing these marks and the desire to remove pain. I hope to honour the pain that shaped me, while embracing the beauty in our scars, showing how beauty and pain can coexist. I chose to do this piece digitally to show the detail and layering of scars fading into my face, showing damage and healing in a harmonised way.

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03/2026, Digital Illustration on Procreate and ibisPaint X, 42cm x 29.7cm 

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The artist discusses the significance of culture for individuals in this 3D artwork, inspired by walking across the Fengyu Bridge (Wind and Rain Bridge), a Chinese minority group’s heritage that serves both as a shelter and a bridge. The artist would like to discuss how culture provides youth with a constant shelter that helps maintain security and belonging, while guiding them through challenges. The form, sculpture, restores and crystallises the artist’s personal experience with the bridge.

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03/2025; Clay, Acrylic Paints, Newspaper, Fabric, Bamboo poles;32cm*29cm*43cm

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This animation critiques the capitalistic labour system. Using the supermarket as a metaphor, each scene depicts humans being packaged as products to appeal to employers, highlighting the dehumanisation of the labour market, where people are treated as goods rather than individuals. The repeating square shapes and imagery of entrapment show how people are restricted and homogenised. The overly saturated colours heighten the discomfort associated with this seemingly normal phenomenon. (THIS PIECE IS NOT FOR SALE)

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12/2025, Digital Animation made with Procreate and Medibang, 1080 x 1920 pixels

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This piece shows my last breath of hope as I left my country. The colored lines are a reference to the floor of the Venezuelan airport, designed by Carlos Cruz-Diez, as a symbol of a forced goodbye to Venezuela, the country that stole my dreams and pushed me to leave looking for new opportunities in life. The emptiness and transition reveal the vulnerability of starting over and the courage it takes to remain open to what comes next,but still marked by everything I left behind.

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10/2024
Drawing in charcoal, pastel  and colored pencils on paper
A3 2.7 x 42cm

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This piece explores intertwinement of and reconciliation between different facets of identity. The base, constructed from cut pieces of xuan paper interwoven with gold thread featuring blue fluid lines, expanded on the Kintsugi motif in the artist’s assemblage “Rebuilding”. The gold threads connect fragments into a vessel holding drawn personal objects, emphasizing identity through unity. Hanging threads forming a nest with an egg symbolizes preciousness of memories and development of self.

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07/25, Colored pencil on rice paper, gold thread, found egg, 65 x 34 x 26 cm

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Fragments of the artist’s identity are presented in this artwork through collages. The emphasis on the volleyball showcases the artist’s passion for sports, with the pattern presenting a beauty of symmetry, suggesting the balance established by her identities. Capturing the transience of stillness conveys the instability of the balance, further communicating the intention to explore identity crisis in adolescence. The medium collage adds to the emotions of uncertainty and turbulence.

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09/2024; Sketchbook App, Collage on Paper; 29.7cm x 42cm

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This collage uses found magazine images to reveal anxieties and unmet expectations beneath the surface. Torn, fragmented papers visually mirror the fracturing of identity under pressure; the child figure is not presented as a whole, but as something that is split and distorted. Meanwhile, an opaque overlay suggests suppressed emotions. Saturated reds and blues break through this layer, showing that hidden feelings inevitably permeate the surface and cannot remain buried.

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09/24 Found magazine images, edited with Pixlr E (42 x 59.4 cm)

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This piece serves as a continuation of “Fragility.” It reflects my progression from entrapment towards awareness and acceptance. It also acknowledges that vulnerability remains a constant part of self‑growth. By highlighting the tension between protection and openness, it delivers that our emotional awareness doesn’t mean ignoring fragility, but learning to embrace and manage it. Similarly, the title conveys the acceptance of sensitivity as a strength rather than a weakness.

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12/2025, Acrylic Paint on Wooden Board, 42cm x 60cm

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Architecture and the Body (Not for Sale)

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Architecture and the Body (Not for Sale)

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The intaglio print portrays architecture and the body as a symbol of outward appearances versus internal truths. It merges Giovanni Battista Piranesi’s column motifs in his etching and Giorgio de Chirico’s distorted perspectives. Architectural solidity symbolizes external facades, bodily motifs and fluid lines reflect inner realities. Pressure and contact inherent to printmaking highlight their juxtaposition and the protective role of the exterior – like architecture sheltering those within.

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A piece reflecting on the loss of my pet bird after I innocently opened its cage outdoors, leading to it falling into the sea. The flowers symbolise my grief, while the fairy-tale border represents the imaginary walls of childhood innocence until it is shattered by a harsh reality, shown by the realistic bird breaking free of the border. The Chinese text “無知之錯” means a mistake born from inexperience. The layout is loosely inspired by Kōichi Satō.

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The artist intends to visualize her appreciation for the architect Tadao Ando, who created the sculpture Youth, a vibrant green apple symbolizing bravery and passion, to encourage young people to stay bold and fresh. The artist continues this symbolism to pass on the motivation for those who feel adrift in the uncertainty of the future, as if floating on the sea. The vibrant colors, specifically the green and blue hues achieved with acrylic paints, highlight the energetic tone of the piece.

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11/2024; Acrylic paint on canvas; 40cm*60cm

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This piece marks the beginning of my art journey, reflecting on how I interpret “interaction” in the art world and ways identity can be expressed. It holds that art is a free expression of ideas, not just in traditional forms but also through music, fashion, and language. This piece depicts that art is subjective, and various interpretations can coexist. The use of imagery and graphics reflects the mixture of emotions and experiences I feel while creating, allowing for open-ended interpretation.

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09/2026, Found images from magazines and newspapers, pasted on Pastel Paper, altered on digital media, 59.4cm x 42cm

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The artist incorporates the metaphor of youth as a page of life by referring to the composition of comic books. It demonstrates how cultural identity energizes young people to explore and challenge themselves. Strong cultural colors are created by employing elements such as the eagle, Knata, and Mongolian cultural attire. By juxtaposing the cityscape with natural views, the artist intends to convey that cultural identity can be a constant motivation despite changes in external environments.

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08/2025; Digital Painting (The Sketchbook); 3507 x 4960 pixels

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This piece reflects the tension between visibility, concealment, and the pressure to conform. The three-dimensional frame suggests a box-like structure, evoking the idea of fitting in while remaining exposed from all angles. Thread-like barriers restrict access, allowing the viewer to see but not fully reach the figure. The mask’s vibrant surface contrasts with the muted interior, suggesting the expectation to appear composed while inner emotions remain hidden, presenting vulnerability as controlled exposure.

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02/26
Wood frame, canvas and acrylic 
paintCanvas: 60 × 40 cm
Overall 3D frame extension:30 cm outward

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This artwork captures the night before the artist departed alone to study abroad—the start of her youth. Transforming from childhood to youth means independence and self-challenge. The piece bridges the two stages by combining metaphoric memories, such as hometown landmarks, with realistic objects in the front. The artist uses watercolor to render a soft, private tone, capturing her complicated psychology at this moment of uncertainty, when fear and anticipation of the future intertwine.

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This piece challenges the preconception of Hong Kong as a purely urban “concrete jungle” by revealing its hidden greenery. By printing directly from leaves, this work preserves the real texture and trace of nature, bringing organic forms into the city imagery. This contrasts with the carved lino, which feels more controlled and man-made, reflecting the rigid structure of urban landscape. Roots sprout directly from buildings, suggesting that the urban landscape is being permeated by nature.

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10/25, Linocut and collograph print, (21 x 29.7 cm)

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caught inside the cycle of time... (not for sale)

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caught inside the cycle of time... (not for sale)

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This piece shows a moment of transition through the symbolism of a washing machine. The confined space with dissolving clocks reflects the repetitive routines of life, while the figure reaching out represents the desire to confront and change them. The washing machine becomes a metaphor for breaking free from cycles, exploring transformation and embracing new experiences that shape personal growth through interaction and change.

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09/2025, Digital Illustration on Procreate and ibisPaint X, 29.7cm x 29.7cm

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This piece encourages teenagers to escape toxic social environments. Inspired by Henri Matisse and the idiom "wolf in sheep’s clothing", bad “friends” are shown as wolves with linked hands to symbolise false friendship. A sheep breaks away from them, representing escapism from this confined space and loss of relationships. This graphic on a mobile sign reflects how social circles change. Neon green symbolises toxicity. It lingers in each photo, which depicts the toxic social dynamics. **The green A-frame sign is for sale, not the photographs.

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08/2025, Acrylic paint on purchased Neon green A-frame sign, 30 x 41 x 58 cm

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The artwork is composed of four pieces that use an apple to symbolize the challenge of losing and normalizing oneself in response to external expectations in socialization. Interestingly, the apple is anthropomorphized as an individual, but the human body, the hand, serves as a symbol of social pressure. The bold palette of the acrylic paints reinforces the allegorical depth. Through this artwork, the artist intends to unmask the core, the true self, that has been compromised in growth.

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The Core continues the concept of the heart as one’s true, inner self from Painted Skin, presenting it as a vulnerable, hidden thing in us. As external disturbances, dark hands on the body, try to take over the body and reach inside a person’s core, it is found that the protection mechanisms we use have already sealed us off too severely. Therefore, this piece explores how our fear of the environment can possibly lead to harm to ourselves before even being exposed to danger.

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03/2026, Digital drawing on Procreate, 2283 × 4060px

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This piece reflects how within certain cultural contexts, becoming a “real” woman is often associated with having a first period and being labeled a “young lady.” This societal expectation creates pressure from an early age, shaping perceptions of identity and value. The work challenges these imposed beliefs, suggesting that womanhood should not be defined by a biological event, but understood beyond socially constructed expectations.

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03/26
Acrylic painting on fabric 
82x57cm

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The artist intends to capture the fear of time passing, inspired by her interest in film photography. The choice of traditional film rolls creates a nostalgic depth. A visual contrast is built between the relentless dynamic sandclock and the stationary hand. Despite the desperate attempt to grasp memories of youth, one can never truly stop the transience of time. The film rolls oscillates in the air, adding to the sense of the fragility of individuals in the face of the eternal elapse of time.

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03/2026; Installation Art (Plaster, Flowers, Film Rolls, Frames, Sandclock); 80cm*30cm*80cm

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This piece reflects on my growth and how my past helps me face the fear of the future. Each candle that I lit represents a year that passed. Each lights up in its own way, showing how the various memories and lessons I have learned all help me as I progress on this path into darkness, a representation of the fearful future. The bird shows my interest in bird photography, the triangular mirror represents exploration of self-identity, and the lantern is a sealed memory I don’t want to revisit.

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11/2025, Digital drawing on Procreate, 2480x3508px

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This collage uses layered article fragments, clickbait headlines, and a trifle dessert to reflect the seductive and excessive nature of media consumption. The trifle suggests information packaged as something appealing and easy to consume, yet overwhelming when consumed excessively. The plant imagery suggests how permeation of excess media and technology in everyday life can distract us from paying attention to the environment around us.

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01/26, Multi-media collage with magazine fragments and printouts, air-dry clay (Dimensions vary) 

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The artist was inspired by the 1992 Chinese film Farewell My Concubine, which depicts an opera actor who isolates himself from the turbulent society through his fanatical obsession with opera. The artist mimics the opera stage and employs printmaking as the major medium, which evokes a sense of age, reinforcing the solitary, depressive tone. The artist intends to foster discussions on isolation’s dual interpretation as both a passive consequence and a voluntary solution.

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11/2025; Printmaking, newspaper, carton, LED lights; 53cm*38cm*36cm

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This piece examines losing direction in life and finding growth through hardship. Whirlwind Binding was selected for its significance in the transition from traditional Chinese scrolls to books, reflecting personal growth amid loss. The 18 pages represent my age, depicting a journey from confusion and chaos to direction and hope. The sketches evolve from rough to more refined, symbolising the growth of my identity. The bright orange signifies endurance.

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03/2026, Digital illustration made in Procreate, printed on paper, charcoal, pencil, toilet paper roll, 27 x 89 cm

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This collage is made with photos I have taken (except the hand and camera), and a photo of me. Some represent an important stage of my life, such as the baby photo, the covid test tube, or the window of my middle school building. While others mean something significant to me, such as my pet dog and snake, a gold medal for school Olympics, and a photo of the painting Madame X. Most of the memorable moments I had are captured under my lens, which is the reason behind this composition.

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This artwork represents the loss of virginity and the vulnerability of the female body. The figure shows areas of heat, representing touch, while the lilies symbolize the purity and innocence expected to be proven. The red stains question this unfair expectation,even in an intimate moment, women feel pressure to “prove” their value through physical evidence. It also reflects the misconception of hymen rupture, and how the absence of bleeding can invalidate a woman’s first time.

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03/26
Acrylic painting on fabric 
82x57cm

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Gratitude Within the Community (not for sale)

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Gratitude Within the Community (not for sale)

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With reference to L.S. Lowry’s “Going to Work”, I created this piece to show the small acts of gratitude within our community that are often overlooked. These acts are what create a positive community. I mainly chose to use flowers as a symbol for expressing gratitude, which relates to my previous work. People are busy on the streets, so look closely to identify people’s actions. Being grateful is not uncommon as we may think, and showing gratitude can start with something as small as a flower.

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The age of technology brings people around the world closer to each other, but at the same time, we are farther apart from those right next to us. It’s very easy for me to get addicted to the digital world since it’s so much more comfortable than real life that sometimes I lose myself in it. What usually brings me back is the pain I experience in real life because it allows me to live in the present. The claws of the eagle will hurt my arm, but at the same time bring me out of my comfort.

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02/2025, Digital drawing on Procreate, 2963 x 2000 px

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This piece reflects the female experience as constantly evolving and portrays our bodies as objects of desire. The closeness of the two figures suggests intimacy, but at the same time conveys vulnerability and ambiguous control. The hair, with an allusion to Medusa, represents a form of protection. The work questions how women are observed and constructed through the external gaze.

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Inspired by Marilyn Monroe, this collage discusses beauty ideals shaped through the media. The act of piecing together different magazine fragments reflects how female beauty standards are often contradictory and fragmented. By layering women’s beauty imagery over nature and flower imagery, the work shows how unrealistic standards overwrite the figure’s natural appearance, questioning how media overrides and permeates women’s natural looks and their perception of beauty, pressuring them to conform to narrow, contradictory definitions of beauty.

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03/26, Collage with magazine fragments and printouts on top of a mask (Dimensions vary) 

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I created this piece after studying Caravaggio’s Medusa, using the same idea of a decapitated head and referencing mythology, in my case, “painted skin” from Chinese Strange Tales. Painted skin symbolizes the mask people put on to hide their true selves when socializing. During this process, we are disconnected from our true selves, represented by the severed head’s separation from the heart. Therefore, the mask gradually becomes a part of us, a fearful but inevitable process.

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01/2026, Digital drawing on Procreate, animated with ProcreateDreams, 1580 × 1580px

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This piece reflects the social expectations that womanhood is fulfilled through motherhood. The figure, trapped inside a sealed condom, symbolizes restriction and pressure, suggesting how reproductive roles can be imposed as a necessary step toward being considered a “complete” woman, questioning how female identity is often reduced to biological function rather than personal autonomy.

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03/26
Acrylic painting on fabric 
82x57cm

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Extended from “Inbetween”, this work explores the constructive aspect of technology and how it can be used to benefit the real world, in this case, rebuilding nature. By choosing real plants as part of the artwork, the changes of the plants play an important part in the artwork's intention, showing how the result of these “artificial” parts of nature is yet to be determined. The metal roots of the keyboard resemble real roots that consume natural resources to continue the process of recreation.

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04/2025, Found mechanical keyboard, found wires, found soil, found plants, 38cm x 24cm x 10cm

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Mindless goldfish and deep waters symbolize disturbance and fluctuation of our environment, which contrasts with the calm area inside the fish tank. The flowers inside the fish tank absorb nutrients from the water outside to enrich the inside, a reflection of inner peace and its source. Though many tend to use outside forces to find peace, I think real peace comes from ourselves and is reinforced by our surroundings. The details are rendered by hatching techniques from Elijah Burgher’s drawings.

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08/2024, Watercolor and colored pencil on paper, 29.5cm x 42.1cm

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This collage explores how achievement becomes something we are expected to consume and internalize. Layering success imagery reflects how constant comparison culture gradually permeates our identity, with prize tags reflecting how success is increasingly defined by monetary value. The fragmented composition mirrors the pressure to assemble a marketable self. It suggests that when success carries a price tag to it, our value becomes something to be consumed rather coming from within us.

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03/26 Collage with magazine fragments (Dimensions vary)

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Stormhaven (in the tree across from Tennis Court)

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Stormhaven (in the tree across from Tennis Court)

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This site-specific installation suggests what it could look like if environmental awareness were allowed to permeate everyday life. Red strings and a Chinese knot reinforce resilience and active connection with nature.

The branch is guarded by nazars made from wood fallen from the same tree during a typhoon, creating a cycle in which damage is transformed into protection and care. The typhoon also echoes the escalating “storm” in the photo series Obliviousness.

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03/25, Wooden tags with acrylic paint, fishing rod, and found branches, red string (site-specific installation) (Dimensions vary)

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This drawing features a figure with tape over their mouth, surrounded by Arabic calligraphy and cityscape elements. The houses above represent the artist’s past culture, while the calligraphy around the figure expresses thoughts and emotions that reflect the experience of moving to a new country, facing language barriers, and feeling silenced by cultural change and longing for the past.

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This print captures the uninhibited joy of childhood, where a child leaping with total energy while it’s raining, serving as a nostalgic angle into a time where nature was a playground and storm or sudden downpour was a cause of joy rather than inconvenience. Providing the high-contrast, relief-printing technique shows the bold clarity of early moments, and the hand-carved lines symbolize the way these formative experiences are permanently etched into our identity, regardless of where we move.

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09/2025, Linocut Print on Paper, 21 x 30 cm 

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Anxiety about the future can rob us of the present. It leads to self-sabotage and fear of the things we dream of doing but haven’t done yet. The mere thought of them already weighs heavily on us. That pressure becomes an inner voice that drains our energy and consumes us as we pretend everything is going well. In the mirror, we see the version of ourselves shaped by fear, exposing how fragile and vulnerable we can feel when confronting our own expectations. Sometimes, our worst enemy is ourselves.

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02/2025
Photoshop, Picsart
1.97x 591 pixels

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This painting shows gratitude through prayer amid hardship as two hands with red wounds are clasped in prayer, where it rises from a dark (bottom) to a cloudy background (top) to symbolizes hardship of financial struggles and conflict. Meanwhile, the bright, vibrant sky suggests hope and growth. The artwork shows how faith and gratitude can lead to better times despite difficult circumstances.

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11/2024, Acrylic Paint on Canvas, 42 x 60x 5 in cm

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This piece reflects the reconciliation with ourselves when we look in the mirror from the soul, without the layers we usually carry. Seeing our reflection from three different angles represents the balance between mind, body, and soul. After experiences of fear, loss, societal pressure, and vulnerability, true peace emerges not from what we do, but from embracing all that we have endured. We are not defined by what we have been told we must be, nor confined to the roles imposed on us; accepting ourselves fully allows us to stand whole, resilient, and free.

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03/2025
Three Dimensional cast with sellotape
60 x 86 x 54 cm

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This layered collage showcases two crucial moments: a childhood photograph with my brother, and below, my present adult portrait in one frame with the surroundings of symbolic objects of the past and place (back home) like the suitcase, traditional tea, childhood crayons… which is creating a visual map of my memory with intentional burnned edges of my adult image to visualize the erasure, loss, and trauma inherent in the journey of displacement, which also represents how identity is always built upon a damaged foundation.

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01/2026, Framed Mixed-Media Collage,  53x43 cm

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This piece illustrates the devastating impact of conflict on the collective memory and future of a nation. As the use of dark, industrial smoke and fractured architecture symbolize the harsh reality of war in Afghanistan, while the colorful child’s drawing tapped to the center shows a lost perspective (a very simple dream of peace and nature). Burning the edges tends to act as a literal and metaphorical scar, which suggests that the memories of innocent kids remain, but they are permanently damaged by the heat of destruction and war. Simply, dreams that were burnt before they could ever be realized.

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This two-part 3D piece demonstrates the evolution of resilience from childhood to adulthood. Initially, the figure of kid jumping rope while blindfolded showcasing blind leap of faith we take in youth or playing despite the uncertainties of the future, however, the second figure of women leaning into a dance like pose, demonstrates the adult struglle to find joy and movement while anchored to the pillars of reality and most importantly, using raw steal wire to create a sense of internal tension and fragility (while our bodies are bound by life’s circumstances, our soul remains in a state of constant, nostalgic motion.

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Blind leaps with boundless Rhythms 01.JPG

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This animation is designed to demonstrate the violent disruption of young girls’ education in Afghanistan. A looming, dark figure holds the girl/restricts her from her books, as it’s severing her connection to the books scattered below. Meanwhile, using a bare, skeletal tree and empty cages clearly showcases a landscape stripped of its potential and freedom, as women are being locked down and restricted from their basic human rights, as by animating the girl clutching a book as she is taken away is clearly highlighting the desperate resilience of youth and the tragedy of a "stolen horizon," where this entire piece serves as a stark reminder that some people’s path to knowledge is not just a journey, but a battlefield. Note: this animation is meant to play in a loop.

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06/2026, Digital artwork (New Media) - using app (Procreate)

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This piece visualizes the fragmented nature of identity in displacement, where it depicts a painted, blank-faced adult figure, whom I identify as my present self. Suspended above this blank canvas, on a literal clothesline, are actual, printed photographs of my facial features from childhood, an eye, a nose, an ear. By using these specific physical memories of my past to "build" a face in order to reconstruct a sense of self in a foreign land. The contrast between the soft, ambiguous paint of the present and the sharp, defined clarity of the childhood photographs emphasizes my longing for an identity that has become a distant, untouchable artifact.

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This visceral exploration through performance of the systematic erasure of female education and autonomy in Afghanistan. Wearing a burqa with eyes blindfolded and body physically attached to the chair, representing the restricted reality of women in Afghanistan, where the book she holds acts as a vessel of nostalgia (the monochrome exterior “black and white” representing the present restricted life, while the vibrant pages inside represent the lively past when women had freedom to chase their dreams)

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Following the colonial takeover of many Indigenous lands in Canada, residential schools were established with the goal of taking indigenous children to assimilate. Many of these schools sought to strip Indigenous children of their cultures. Through a series of reductive prints, this piece mirrors that systematic erasure: each layer removed parallels the loss of identity, self, and dignity.

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11/2025
Linocut Print on Paper
63cm*29.7cm

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This sculpture focuses on the forcible displacement of children from their mothers, a common occurrence under many colonial regimes. The focal point is the only scene where mother and child remain together, the others scattered around them, visibly displaced from each other.  Bankness signifies the erasure of identity and the colonial view of children as empty vessels for assimilation. The intent is to confront viewers with the violence of interrupted nurture.

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3/2026
Made Sculpture, Tinfoil Armature, Clay, Acrylic Paint.
36cm*91.5cm*53.3cm

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This piece honours my mother, who left her life in China behind to come to Canada with her two kids. Focusing on how she sacrificed so much to ensure our happiness and safety. Inspired by Ko Byung Jun’s vibrant paintings, I used a palette of contrasting colours to reflect how she created a warm environment for us, with bright yellows contrasting the cool purples that represent her own struggles.

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This piece reflects Buddhism's role as an influence in all aspects of my life. Religion has guided and motivated me throughout my life, leaving a continuous influence on my past, present, and future. The stairs symbolize my ongoing journey, while the sun at the top illuminates the way, mirroring how faith clarifies my path. The collaged sun rays represent the many aspects of my life touched by this nurturing presence.

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09/2024
Collage on Paper, Digital Collage, Acrylic paint.
39.7cm*42cm

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This piece reflects how, in my darkest times, I turn to faith, finding hope in prayers. Influenced by Käthe Kollwitz, I employed chiaroscuro techniques and loose strokes to convey emotion. The yellow light and prayer beads symbolize how religion illuminates my darkness, while the open eye represents my newfound awareness of possibilities, achieved through my use of charcoal. This work encourages viewers to reflect on the sources of resilience in their own lives.

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10/2024
Charcoal and Chalk Pastel
39.7cm*42cm

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The intention of this project was to create a stimulating play area for children—one that encourages curiosity, movement, and experimentation. The design draws inspiration from the shattered pieces of a classical bust, reassembling fragments into a new angular structure connected through wooden sticks. This reconstruction process reflects how history can be reinterpreted, creating a bridge between memory and imagination.

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08/2025
Found Plaster sculpture, wooden sticks, coloured pvc.
48.3cm*43.9cm*29.2cm

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This multimedia installation focuses on the transformation of human urban habitats, through destroying and hopefully nurturing the nature around us. The installation creates a spatial experience for viewers; the arrangement of cloth banners with digital collage printed on them allows viewers to feel nested within the space. Reflection is prompted on how design can nurture both human development and the natural environment.

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03/2026
Digital Collage printed on Cloth. Installed on Wooden Pillars
182cm*274cm*182cm

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Monumental, awestruck, and almost ethereal; when I think of the Pantheon in Rome, I think of those words. Taking inspiration from its monumental qualities, I took linear elements from a vertical cut of the Pantheon, focusing on the stepped details and the curve of the dome, to reorganize them into variations of a dome section. This piece envisions how structures can nurture heritage over time.

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Serving as a reflection for my self growth, this piece, inspired by Dali’s “The Persistence of Memory”, marks my critique on the upbringing of my memory. Most of the time, I have come to realise that I am trapped in the past, be it from nostalgia or anguish. In a dreamlike state, where no time continues to run yet reality fails to reach.

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Throughout my upbringing, I had a very prominent issue of spacing out. I rarely lived in the moment, much less carried awareness of my emotions and reality in general. For as long as I could remember, I was staring at a reality that existed in my childhood, eating an egg waffle that proved to be sufficient at the time. Yet ironically, such memories in the present climate only served to act as escapism that enhanced my isolation.

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3/2026
Oil and air dry clay on canvas
25 x 40 cm 

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Made with food and spices, this piece serves as a direct response to “The Happiest Meal”. With reference to “yin and yang” from Chinese culture speaks of a balance that I have slowly come to recognise. With happiness comes sorrow and likewise, with anguish comes contentment. The spices symbolise all the “flavours” felt throughout life. Without such “flavours”, a dish lacks depth. A reminder to feel and appreciate our emotions.

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2/2026
Ink on plastic on, seaweed with matcha powder, rice paper with turmeric powder, tortilla wrap with chilli powder and spinach tortilla wrap
17 x 20 cm

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Growing up, I was always scolded for acting differently and seen weirdly for looking different, which impacted my self-esteem and made me especially wary of judgment, particularly stares and hand gestures, portrayed by the hands reaching upwards and the unsettling eyes. Despite this, I still want to be passionate and grow as a person, however, it often feels like these two feelings are overlapping, feeling as if I am constantly drowning. Therefore, the swirling patterns on the blooming rose.

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11/2024
Colour pencils on paper
29 x 42 cm

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Fear has been a prominent part of my life, ever since I was young. Navigating my life felt like walking on eggshells, and yet despite waking up each morning with anxiety brewing in my stomach, I still had to pretend as if everything was completely fine. The anxiety sits with me, unaddressed in the corner of my room, as I desperately grasp onto sweet distractions symbolised through the rose. Carrying on through dissociation and ignorance.

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Serving as a recap on my journey of self discovery, I aimed to visualise the lesson I’ve learnt, “self acceptance” through portraying two selves, one “flawed”, one “tamed”. However the farther I reject the "flawed" of myself, the more I hurt in favour of sweeter yet destructive ignorance, symbolised through the rose once again. The comic ends with me facing and accepting my self hatred before truly validating myself for who I am, "living" for the first time in a very long time.

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Growing up, music played a major role in seeing new perspectives, creating a blooming passion, regulating and validating my emotions in ways that words themselves could not. It seemed as if music had vibrated through my veins and body, similar to a surge of energy in my blood, creating ripples similar to ripples on a still and lifeless surface, impacting my life significantly in the present and carrying towards the future.

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Inspired by the scientific process of diaphonization, this piece examines the erasure of identity in the pursuit of perfection. By stripping away the flesh and features, the individual is reduced to a transparent object of study. This represents the ‘internal death’ that occurs when we are forced into a perfect mold, as conveyed by the Fibonacci spiral. The unique identity, history, and humanity of the subject are disregarded and forgotten, leaving only skeletal remains.

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11/2025
Oil paint on wood and Paper clay
53.3 x 83.3cm

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Inspired by the self-portraiture paintings of Frida Kahlo, this piece acknowledges bodily scars not as a source of shame but instead as a testament of resilience. Just as the tiger does not hide its markings, one should embrace one's "stripes" as an integral part of one's anatomy, rather than a deformity. This work is a tribute to the strength found in simply being content with one's own skin, transforming the negative views of the self.

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This piece explores the violation of identity and autonomy, through the lens of internal conflict. The multiple hands representing the relentless voices and pressures from within that demand one to refine, trim, and modify oneself to be a certain way. The hair, representing one’s self and identity, is chaotically spewed and entangled around the subject, symbolizing its state of confusion about identity and the conflict between the desire to change and the desire to remain authentic.

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This piece depicts the act of vomiting, driven by a profound dissatisfaction and sense of disgust, a rejection of one’s identity that has grown foreign and repulsive. It is a manifestation of self-hatred, representing a desperate attempt to cleanse the self and purge the undesired aspects of oneself, as represented by the hair. The subject holds up this expelled mass, confronting and recognizing that even the parts of ourselves we despise are inextricably ours.

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Inspired by the political commentary prints of Sue Coe, this print visualizes the informed pessimism of a generation witnessing global crises. The head of the figure is ablaze, a visual manifestation of the constant exposure to negative information. However, this is contrasted by the figure's stoic indifference, emphasizing desensitization and existential despair. The waiting room setting emphasizes a sense of stagnation and powerlessness, trapped in a state of idle anticipation, unable to act.

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10/2025
Linocut print on paper
35*52.8cm

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In the need for a more internalized space to express my femininity, away from the world and external viewers, I created this painting. The woman in a resting and peaceful position is submerged in the tangled field, representing how she exists within the landscape. All the flowers merging into her body makes a statement of how even after surviving pain, loss, harassment and scrutiny, women are still able to generate their own fertile ground and be autonomous, enhanced by the loose canvas.

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03/2026
Acrylic on loose canvas 
40 x 50.5cm

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In my own world, catcalling has been normalized and growing up I was taught to expect it and bear with it. This painting channels my anger, disgust, and vulnerability I have felt all those times someone has catcalled me. The circular arrangement serves to symbolise the suffocation and oppression felt by women in my same situation while the textual overlap captures the real damaging power of language and everyday comments.

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07/2025
Acrylic paint on loose canvas 
45 x 75cm

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Motherhood is seen as one of the central roles for women, and it is not an exception in my home country Guatemala. For the Mayan culture, mothers are the key transmitters of life and pillars of society. Thus, I created this print as an attempt to honor all those mothers. Linocut, a hands-on process, was used as a technique in order to recreate the craftsmanship embedded in Mayan culture. I took inspiration from Elizabeth Catlett regarding the medium and carving technique.

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Inspired by the superflat movement and Aya Takano´s work, I created this painting to critique the relationship between technology and womanhood. The early immersion to social media platforms, shortens the transition between childhood and womanhood, exposing girls to beauty standards, social pressure and sexual content from a really young age. The above was portrayed in the painting followed by a fisheye perspective to simulate the feeling of being observed by a surveillance camera.

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01/2026
Acrylic paint on canvas 
64.5 x 44cm

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“They are our mirror; our memory; we ask nothing of them but that they polish the mirror from time to time so we can look at ourselves in it”. The above quote comes from my favorite book “The Unbearable Lightness of Being” which addresses my all time favorite topic: Friendship. For this piece I wanted to express the gratitude I have towards female friendships and how those connections have shaped me as a person. I took inspiration from Grace Cossington Smith regarding the style of the painting.

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11/2024
Acrylic paint on wood
48 x 81.5cm 

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Inspired by my mom's breast cancer scan, I decided to create an abstract painting depicting her tumor. The loose canvas emphasizes the fragility of the physical body turning a medical record into an emblem of womanhood's hidden struggles. The tumor is embroidered with red thread into the painting representing the attempt to heal amid irreversible damage.

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03/2026
Acrylic paint on loose canvas 
60 x 80cm

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This painting, shaped like a stop sign represents the command to halt  queer love and the pressure of societal expectations. I wanted to express the fear I have towards public affection leading to rejection. The sky crowded with accusatory eyes evokes the sense of surveillance queer women often experience. The bold contrast between the colors helped enhance the tension within the piece. “Gaze” transforms my insecurity of being seen into a declaration of enduring love despite external judgement.

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A four-sided rotating panels of matching toddlers scaled to my height, echoes the Chinese phrase “近朱者赤” that we are prone to positive personality and interests shifts from friends. Disproportionate figures of oversized heads, long bodies imply we are  hovering over them. Viewers play together and possibly build positive friendships, and  see newspapers under the red hue while the children back-faced. Thus they have not yet had their worldview shaped by current events but simple bonds with peers.

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03/2026, Mixed media acrylic paint, newspaper and glue on cardboard, 1.6m*0.7m

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I was brought up by my family, society to be a god-fearing conservative, innocent girl who listens and obeys; but I realise this is not me. My hobbies, my navigation of girlhood and my choice of who to love defines me. Glitching motion of the two collages with animated details of Jesus questioning me and the word “repent”, that religious guilt continues to haunt me. I check my phone when I wake up. My phone screen shifts to the collage as , I sealed myself off to put who I was aside, moving on with my life.

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09/2024, Handmade collage on paper, animated with Procreate, 1080p 1080pxl* 1515pxl 30Fps ‘25 secs

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A young impressionable girl has a blank mind and naive eyes. In Marco Mazzini style, used Hong Kong’s regional flower—the orchid tree and peonies which symbolize purity and femininity. My opinions come from my background as a HK local girl. Referring to my childhood picture as an angel with cardboard made wings, I link to Christianity: key factor of my value system yet fragile like cardboard as I have lost faith. The fluidity of my cross necklace on me shows uncertainty in this religion.

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11/2024, Colour Pencil and acrylic marker on paper, A3 size 297mm*420mm

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Spiders may seem scary, but they protect us by killing harmful bugs. To me, my mother is like a spider —strong, protective, and ever-present. The idea was sparked by artist Louise Bourgeois, who used spiders to represent her mother. Like a spider weaving its web, my mom built the life I enjoy. In my artwork, a dark spider contrasts a light room, weaving furniture that mirrors my parents’ home. The sunflower carpet symbolizes the joy and warmth she brings into my life.

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11/2024, Watercolour,  colour pencil and acrylic marker on paper, A2 size 420mm*594mm

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I reclaim box braids as my armor yet restraint against racist stereotypes and cultural appropriation. Inspired by Dumile Feni’s use of revealing figures to show vulnerability, I translate it into a braid corset and hybrid cow hoof stilettos that limit balance and movement. Through performative photography, digital editing and fashion, I  aim to expose how Black folks are fetishized as both decorative and barbaric. My finished product is fall apart after my fight to escape its tight restriction.

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01/2026, Part 1: Mixed media resin on found polyester hair, acrylic paint on wooden beads, air-dry clay on found fur and stilettos; Part 2: Digitally rendered and edited photographs on Procreate software on iPad, Part 1: 35.5cm*35.5cm*3 images; Part 2: 65cm*33cm*21cm corset and 22.5cm*16cm*8cm shoes 

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My mom is a huge support to my development of interests. As tribute, I fashion design which she and I both love to show gratitude in a new lens, I made a physical embodiment of the effort she has put into making me who I am. The small buttons and toys represent freedom and creativity I was given growing up. Clustering the bag, I used a classic HK “red-white-blue” fabric used for migration to Mainland as a base. I show the transition of my mother’s care to an independent life in my video.

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04/2025, Part 1: Mixed media sewn bag with red-white-blue plastic fabric, found small decorations and holographic film; Part 2: Stop-motion video on Procreate software on iPad, 350mm*180mm*250mm Bag; 00:00:34, 2480*3508 pixels Video

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I confront the tension I caused my mother throughout my adolescence through seeing with new eyes by apologizing to her. Inspired by Loish’s chiaroscuro effect that evokes emotion from shadow and radiance, I present myself nude as a returning fetus cradled protectively in her symbolic hands, evoking the uterus as the ultimate refuge of unconditional forgiveness and care. The use of negative space creates a quiet isolation of my figure, highlighting the raw intimacy.

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05/2025, Digital painting on Procreate software on iPad, A2 size 429mm*594mm

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Eighty-Five Minutes to Rehearse Womanhood

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Eighty-Five Minutes to Rehearse Womanhood

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I reflect on how I unintentionally displayed myself sexualised as a child through drawing three girls within one red line during an 85-minute performance, that symbolise blood and echoes the daily average of 85 minors raped. The basketball, candy ring and veil force adult roles onto kids, critiquing the adult gaze and questioning how innocence is read as invitation.

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03/2026, Part 1: Acrylic marker on found bed sheets; Part 2: Digitally edited video on InShot software on iPad, 1.2m*1.6m fabric; 1080*1920 pixels video

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Eighty-Five Minutes to Rehearse Womanhood_02.MOV

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The title “5” is based on the grade I received for the piece: a number used to assign my value. This piece reflects how society often treats individuals like cogs in a machine. From preschool we are placed in uniform classrooms, tracked and evaluated through standardised tests. At the center is a female figure with her infant self, with the forms of two parents above. This reflects my journey through this system and the expectation that I repeat the same pattern.

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10/2024, Oil pastels on paper, 30 x 42 cm

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This piece follows the storyline of the poem Renascence and reflects on gratitude. The long fabric format allows the viewer to follow the narrative from the floor to the top of the wall. It begins with a woman who is ungrateful and sees her life as limited and small. As the piece moves upward, she suddenly sees all the pain in the world and understands it for what it really is. It then shifts into a reflection on death, followed by a new appreciation for life. At the top, a tearful man evokes God in the poem, but also my father, the only time I saw him cry was when he read it to me.

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11/2025, Fabric, embroidery thread, acrylic paint on fabric, 165 x 52 cm

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“Reflections of Emotions” stitches together printed photographs of my brother absorbed in television, arranged as a fragmented grid on fabric. Embroidered threads link each moment, reflecting how the digital world shapes and sometimes entangles a child’s emotional experiences by blurring the lines between genuine and digital experiences. Over top of the piece, I have projected a series of shifting colors and shapes that reflect the fact that the digital world is not just something he observes, but instead a force that shapes personal perception and sense of self.

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12/2024, Printed photos on paper, cotton fabric, embroidery, projector, 46 x 50 cm