P001 → Object Making

Growing up amid constant relocation and unstable surroundings, I learned to long for structure while fearing the rigidity it carries. I am drawn to objects that promise order—things built on logic, function, validation, and claims of authenticity—because they appear to offer stability.

I work by handling these structures until their confidence softens. Melancholy enters as a pressure that bends, erodes, or quietly undoes them. I am interested in what happens when systems designed to hold begin to falter, and in how fragility, transparency, and resilience can coexist within a single form under strain.

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. Like a dam that regulates the flow of water, deciding what passes through and what is held back, social systems determine who receives resources, recognition, or care, and who is excluded. The stones and moss reference the quiet lives that form around these structures, small ecosystems of adaptation and survival that exist within constraint. By shaping the river and sourcing materials locally, the work reflects how these dynamics are embedded in specific environments, asking how boundaries, filters, and hierarchies are constructed and maintained.

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 simplified symbol that is struck, or the realism that attempts to imitate nature? In this imagined
battlefield, violence hides behind cheerful foam fingers, oversized symbols of support borrowed from sports culture and repurposed as invisible
weapons. What once signaled encouragement becomes a quiet form of aggression, where competition and domination are masked by playfulness. 
The work considers how symbolic gestures can normalize harm, and how systems of conflict often disguise themselves as celebration.

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

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

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.









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

This piece features a pair of embroidered locks and keys suspended on a necklace, deliberately positioned to rest on opposite sides of the
body when worn. The design creates a quiet dissonance: the key is never near its corresponding lock, and both sit just out of view, tucked 
behind the wearer. It suggests that the answers we search for may already be with us—only hidden, just beyond reach, or quietly embedded
in places we cannot see.








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.

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.

Watch Out


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

Xihuan Line

cyanotype on paper
size varies
September, 2019