WORK
CURRENT PROJECTS
ME IN A SHOEHORN, 2023
I've always believed that as a designer, the products we create can represent who we are. Design is more like a language or a mirror, reflecting our true selves through our creations. A designer's experiences, interests, and various factors influence the designs they produce.
The project I worked on is a shoe horn, born out of sheer practicality because my home was in need of one. I believe this epitomizes the essence of design, which is to provide convenience and aesthetics. Within this shoe horn, I can see myself. I see my most functional self, as well as my abstract, geometric dimensions.
My existence resides within this body, why can't it exist within this shoe horn as well?
HUMAN, NATURE, PARASITIZING, 2023
In the grand tapestry of life, humanity nestles like a delicate parasite, drawing sustenance from nature's bounteous embrace. As leaves to a tree, we cling, siphoning life from the roots of existence, while nature, the patient host, cradles us in her vast, unspoken wisdom. Our survival, intertwined with her generous spirit, reveals a profound truth: we are but humble lodgers in the majestic inn of the Earth, ever dependent on the kindness of our natural benefactor.
FRAGILITY AGAINST FUNCTIONALITY, 2023
“The Aesthetic Paradox of the Bone-Inspired Door Handle”
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This project features a fragile door handle, designed to resemble a bone. I crafted it with a very thin grip, making it unable to withstand force. To open the door, one must pull the handle, but doing so will cause it to break.
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In this project, I am challenging utilitarianism. In modern life, the functionality of an object has become crucial. People often ask, 'Is this useful?' before appreciating it. But is the sole purpose of an object or product just to be used? I believe that everything exists for reasons beyond their functionality, even if their only purpose is to provide aesthetic pleasure.
NATURE WORSHIP, 2023
People often ask, 'Is this useful?' before appreciating it. I believe that everything exists for reasons beyond their functionality, even if their only purpose is to provide aesthetic pleasure.
ARCHITECTURE IN CONTAINERS, 2022
Throwback to this summer when I spent a month in Jingdezhen, China, learning about ceramics. It was a truly memorable experience that deepened my understanding of porcelain-making techniques and history.
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My days in Jingdezhen were filled with simple yet profound moments. I got to explore the world of ceramics, getting my hands dirty with clay and experimenting with different colors. It was inspiring to see the local artisans’ love for their craft. This time was about more than just learning ceramics; it was about connecting with a new part of myself.
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As my time there ended, I completed a series named 'Architecture in Containers'. With a background in architecture, I see its elements everywhere, not just in buildings. Architecture influences many aspects of our lives, including art, sculptures, and even the furniture we use. My ceramics are an expression of the architectural beauty I find in everyday objects.
VEAS, 2024
This sculpture, crafted from the enigmatic Yew wood, embodies a blend of natural beauty and mystical heritage. Yew, a tree often found in graveyards, is steeped in rich religious lore, imbuing this piece with a profound sense of history. Unaware of its storied past when I acquired the wood, I was inspired to transform it into a vase-like sculpture once I learned of its background. The sculpture features an organic shape, with white lines flowing outward from the rim, symbolizing the 'soul' of the wood. These lines, reminiscent of branches sprouting from the tree itself, add a dynamic and ethereal quality to the piece, capturing the essence of life emerging from its wooden core.
CRACKING STOOL, 2024
This sculpture is carved from a single trunk, retaining its original form while inviting interpretations of both art and utility. Some may see it merely as a stool, and indeed it could be served as one, but it is the deep, natural crack at its center that defines its essence and ignites my creative vision. Rather than concealing this flaw, I chose to embrace and accentuate it by cutting it straight and deeper, leaving a clear mark of human intervention. This bold crack is then painted in a vivid red, symbolizing the vibrant passion and vitality that human civilization, born from nature, both shares and celebrates with the natural world.
WATCHER, 2024
"Watcher" unveils a series of enigmatic wooden sculptures, each a fusion of architecture, bamboo, and beetle legs. Each independent sculpture resembles a creature gazing in different directions. They can either collectively face inward as if in homage to something or turn outward to observe external happenings. Each black figure appears as a creature grown upon a monument, rotating to greet or guard the people around it.
My artworks often take form through handcrafting, predominantly using wood, a natural material. In the process of creating these pieces, I aim to explore the relationships between artists, designers, and makers.
