Ink Panting Series (2021)
Structure Series (2020-2021)
Continuing my exploration of human relationships and the human condition, I began experimenting visual languages to articulate complex family dynamics. Growing up in a single-parent household after my parents’ divorce, I turned to expressive abstraction in portraiture to articulate memory, absence, and fragmented family structure.
Surrealist Paintings
Sculptures
Goblet (2021)
Medium: Wire, Glue, Glass, and Nails
Dimensions: 12" x 20" x 20"
This sculpture reimagines a goblet as a surreal, nonfunctional vessel. Inspired by an unidentified cactus species, it reflects on the tension between protection and preservation. Cacti endure by shielding themselves while storing water, and I was drawn to the idea of a vessel that might hold something sacred, like holy water, yet remain unusable. The goblet draws from Christian ritual objects, where form is imbued with spiritual symbolism, but here, its dysfunction challenges that sanctity. I was particularly influenced by surrealist object-making, where everyday forms are reimagined to provoke discomfort, absurdity, and reflection on the boundaries of purpose.
Bas Relief (2021)
Medium: Plastic, Wire, Plaster, Gold Leaf, Fabric Paint and Foam Core
Dimensions: 30" x 42"
This bas-relief draws from Plastic by Moses Sumney, a song that reflects on vulnerability, fragility, and the fear of being loved. Referencing the myth of Icarus, the work reimagines wings made of plastic rather than wax, emphasising qualities of cheapness, artificiality, and brittleness. In this reinterpretation, flight becomes impossible — the figure is disintegrating and dysfunctional, unable to rise or reach intimacy.
Torso (2021)
Medium: Plaster, Clay, Wire, foam Core, Acrylic Paint, Paper, Leaves and Branches
Dimensions: Size of Average Human Torso
This sculptural torso is informed by imagery from Hannibal, specifically the episode Amuse-Bouche, in which bodies become sites for fungal growth. The work draws on the idea of fungi as agents of transformation — organisms that decompose dead matter and convert it into new life. As articulated in the series, “the structure of the fungus mirrors that of the human brain: a web of intricate connections.”
By merging the human form with fungal growth, the sculpture frames the body not as separate from nature, but as part of an ongoing ecological cycle. Life, decay, and regeneration are presented as inseparable processes, positioning humanity within, rather than above, the environment.
Guan Xi 關係 (2020)
Medium: Readymade Objects, Acrylic on Wooden Panel
Dimensions: 8.4m x 11.9m
Guan Xi (meaning “relationship” or “connection” in Chinese) is my first multimedia work, combining assemblage and painting to explore fractured family relationships. Created in response to my parent's divorce and my limited relationship with my father, the work uses found, broken objects to construct a symbolic, non-naturalistic portrait.
Collected from peers and teachers, these discarded materials metaphorically reflect attempts to mend a damaged relationship. Through the process, I became aware that repaired objects are never truly restored to their original state, mirroring how childhood experiences and emotional absence cannot simply be “fixed.” Many of the objects, particularly electronic devices, reference my father’s career in business and computer engineering, a commitment that played a role in his absence and my parent’s separation. The broken objects therefore hold a dual role, embodying both the experience of being damaged and the conditions that caused that damage.
By working exclusively with unwanted materials, the piece also gestures toward broader questions of waste and consumerism, drawing parallels between personal rupture and societal cycles of disposability.
Clothing Design
Mask Designs (2020)
Created during the COVID-19 outbreak in Hong Kong, this series of mask designs responds to the sudden disappearance of visible facial expression in public life. Living in a city shaped by collective memory of the SARS epidemic, I experienced daily environments populated by masked figures — faces reduced to sterile whites and clinical blues, anonymity becoming the norm.
This work emerged from questions around human communication and development. Facial expression is fundamental to social learning, empathy, and emotional recognition, particularly in early childhood, where observation and imitation play a crucial role. With faces obscured, I began to consider what is lost when emotional cues are removed from everyday interaction.
Using abstraction, colour, and shape, informed by research into visual psychology and the work of Wassily Kandinsky and George Condo, these designs aim to reintroduce emotional presence onto the surface of the mask. Rather than functioning purely as protective equipment, the masks become expressive interfaces, inviting open and inclusive interpretations of human emotion during a period defined by distance, fear, and uncertainty.
PDF of full product design booklet:
Ocean Park Conservation Project (2019)
–– Collaboration with Miss Sixty
