VISUAL PORTFOLIO

In Taoism there is Yin and Yang, two opposing yet interconnected components of existence that encompass everything. Yin is what already exists, what we cannot control, what is obscured, unseen, intangible. Yang is what we create, what is brought forth through action, what is illuminated, stated, tangible. All come together in the balance of the universe.

ARTIST STATEMENT

I am guided by the daoist concept of Yin and Yang, which identifies two distinct yet complementary parts of the whole in any scenario. Understanding this framework provides an anchor for my direction as my mediums and environments change; I find balance between flow and structure, circumstance and choice, inaction and disruption. Each iteration of expression that comes out of different moments of my journey, whether it is visual, lyrical, or musical, challenges me to liberate my creative voice.



RESIDENCY: BURREN COLLEGE OF ART (JAN-MAR 2026)

During my 12-week residency in Ballyvaughan, County Clare, a fork developed in my practice between abstract and realism, which I am currently developing in the form of diptychs (to-be-released soon!)



YIN-YANG SUSPENSION (FEBRUARY 2025)

Yin is embodied in the abstracted, naturally flowing calligraphic strokes in sumi ink, a practice I developed that reflects my inherent identity as a Chinese American (see “Calligraphic Flow Series”). Yang is embodied in the meticulously formed lattice, made using gel nail polish materials from making press-on nail sets, a practice I picked up when I was introduced to nail culture while living in Brooklyn. The cast shadow under a spotlight brings out another aspect of Yin and Yang between the two coinciding, yet complementary visual frames.



ACRYLIC PAINTINGS (2023–2025)




CALLIGRAPHIC FLOW SERIES (2019–2025)

Using Chinese calligraphy techniques that I learned in my early childhood, this series of abstracted calligraphy has formed a visual fabric that captures in some ways my experience as a Chinese American. The sumi ink strokes, originating from traditional Chinese calligraphy, have been re-contextualized to become something unique, just as my Chinese heritage has been in my experience as part of the diaspora. This practice has become a recurring element in my works, and I turn to it often in meditation or as a warm-up.




SHOP COLLECTIONS (2024)

My first project in my studio in Ridgewood, NY was to create seasonal collections for my personal online artist shop. I used this opportunity to explore a range of new mediums, such as UV gel nail polish, air dry clay, glass enamel paint, Chinese knotting cord, and more.



MEMORIES OF ASIAN AMERICA (2017-2018)

Juxtaposing multiple documentary media forms in a metaphorical living room represented how I understood my experiences in the context of a collective “memory” that I am a part of as a Chinese Asian American. I gathered audio and visual footage as well as historical references over the course of my senior year, from everydayconversations with friends to experiences while visiting institutions of Asian American history on both the West and East coasts. More info





LIGHT SOURCE (JANUARY 2025)

These pieces were an exploration of 3-dimensoinal play, bringing together a variety of collected materials. I marbled rice paper with sumi ink and Chinese watercolors, fastened semi-precious beads with Chinese knotting cord, and twisted jewelry wire to create hanging forms that draw the eye to fine details through filtered light.



GOUACHE PAINTINGS (2024–2025)

I began exploring gouache when I moved back to my parents’ home in New Jersey. It was relatively cleaner to work with in a home environment as well as more portable. The medium drew me toward more illustrative work as I explored floral ornamentation and the idea of portals.