P01 → Paintings 

Unfortunately 
Approximately 6 x 3 feet 
Found fabrics 
June 2025 

These suits were sourced from local thrift stores. During my residency at the Vermont
Studio Center, I received many job rejection letters, which led me to reflect on the 
symbol of the suit—an icon of professionalism, validation, and legitimacy. I began 
deconstructing these garments to question why they never seemed to "fit" me, both 
literally and metaphorically. As an Asian woman, suits often don’t accommodate my body:
they hang awkwardly, make me feel out of place, too small, too excluded. Yet I still 
crave validation. I want recognition. From that tension, ribbons and medals emerged—
crafted from the very fabric of these deconstructed suits—and were reattached as ironic 
decorations.

Throughout this process, I kept thinking about the concept of "white fragility."
What barriers might a white man face in his professional life? And even when he fails,
is that failure sometimes rewarded? This work grapples with those questions—about merit, 
belonging, and the often invisible structures that shape who is allowed to be seen as
“professional” or “successful.”

Dam
30 x 90 x 25 inch
Pencil on paper, Fabrics, Indigo dye, Found objects 
June 2025 

This work uses the dam as a metaphor for how societies manage power, access, and control.
Just as a dam regulates the flow of water—deciding what passes through and what is held
back—our social systems determine who receives resources, recognition, or care, and who 
is excluded. The stones and moss represent the quiet, often overlooked lives that form 
around these structures—micro-ecosystems of resilience, adaptation, and survival. 
By shaping the river and sourcing materials locally, I aim to reflect how these dynamics
are embedded in every environment, questioning the boundaries, filters, and hierarchies 
that shape our collective existence.

To Attack an Imagery of a Tree 
50 x 24 x 60 inch
Bronze, Steel, and Foam fingers
May 2025 


How does one attack the image of a tree? Is it the graphic symbol, the simplified 
outline, that is struck? Or do the blows land on the real leaves, on the realism that 
tries to mimic nature? In this imagined battlefield, malice hides behind cheerful foam 
fingers (those oversized symbols of support from sports games) now repurposed as 
invisible weapons. What once cheered has turned into silent gunfire, with a playful 
gesture masking the aggression of competition.

English Poster 
40 x 32 inch
Color paper, Color marker, Color pencil 
Novembr 2024 

English Poster Assignment explores how Chinese children approach the creation of
English-language posters in school. Treated less as tools of communication and more as
visual decoration, English words become ornamental—sometimes nonsensical but resembling 
English in form. Fragments of Western media and cultural references are absorbed through
an innocent lens and reassembled playfully, often out of context. The project mimics 
this aesthetic: hand-drawn slogans, misused phrases, and mismatched imagery reflect both
compliance and quiet resistance. While the posters are assigned tasks, children find
unique ways to engage with or distort the language. It is an irony of aestheticizing 
the process of learning while being innocent about the heaviness of cultural reference 
behind languages. 

WASH 

28 x 15 x 4 inch
Flex-foam, Plastic wash basin, Fabrics, Wire, and Cotton swabs
May 2025 

Key Chain 
Embroidery,fur, metal, fabrics, stuffing, chair, lights  
April 2025

Conngratulations
Fabrics, found text, rug  
Febraury 2025
 
This work takes the form of a giant rug sewn from children’s fabrics, embroidered 
with “congratulations” phrases sourced from credit card offers, contest emails, and
brand loyalty programs. By using soft, playful materials to echo the language of
corporate validation, the piece critiques how affirmation is often tied to performance
and consumption. Placed on the floor—where praise becomes something to walk over—it 
quietly resists the scripted celebrations of institutional success and exposes the 
hollowness of belonging through purchase.

Watch Out
11.8*11.8*28 inches   
Embroidery, traffic cone 
Febraury 2025

Stop Sign
size varies  
Embroidery, farbcis
Febraury 20245

Embroidered traffic signs place visual authority and marginalized labor in direct 
conversation. Traffic signs are built to command attention, demand compliance, and 
carry consequence. Embroidery, often associated with famine-era labor and historically 
feminized craft, is frequently dismissed as decorative or domestic. When stitched by 
hand, the sign’s authority is both echoed and undermined. Its familiar form may still
signal urgency, yet the softness of thread invites hesitation, doubt, or disregard. 
This tension raises questions about how power is constructed through visual language,
how materials shape interpretation, and what happens when symbols of control are 
rendered through slow, invisible, and undervalued labor.

Watermelon
17*25 inch 
Oil on canvas primed by airdry clay, paper image transfer 
December 2025 

This piece uses the imagery of watermelon and fences to explore themes of consumption,
accessibility, and gatekeeping. The watermelon—bright, juicy, and often shared—evokes
desire and abundance, while the fence serves as a physical and symbolic barrier.
Together, they create a tension between what is offered and what is withheld. 
Who gets access to sweetness, and who is excluded?

Rain Map Home
40 * 30 inch 
gouache on paper, sythetic fur, wood
September, 2024

flyers
55 * 55 inch 
mix media on canvas 
April, 2024

What are you looking at while on the phone 
42 * 36 inch 
mix media on canvas 
April, 2024

Annuciation
48*42 inch
mix media on canvas
April, 2024

Unbox
18*24 inch
mulbury paper on board
may, 2024

Inspired by the frustration and transience of moving, packing, and unboxing—
an endless cycle of constructing and dismantling one’s world, repeatedly unpacked,
crushed, healed. The longing for a future life is distilled into floor maps. 

Knowledge is money, money is mine 
size varies 
paper mounted on mesonite, lock, wire 
may, 2024

running track 
18 * 24 inch
sand, watercolor, sythetic fur on wood 
April, 2024

Fishing for the moon
7 * 3 feet
mix media
October, 2023