Unbound Variable

2024. Bio-Installation. Dimensions Variable.

"Awakening in Numbness" is an art installation exploring climate change through the perspective of moss. Combining the artist's experiences with moss's silent resilience, it narrates environmental change, sensory numbness, and visual awakening.

Moss, a silent observer of Earth, symbolizes humanity's desensitization to climate change. The artist uses allergic reaction numbness as a metaphor for this gradual desensi- tization, reflecting the helplessness in the face of environ- mental crises.

Visitors enter a moss-like environment, transitioning from numbness to awakening, highlighting the urgency of climate change and promoting awareness and action. The artist aims to raise public consciousness and encourage reflection on our numbness to environmental shifts.

2024. Bio-Installation. Dimensions Variable.

"Awakening in Numbness" is an art installation exploring climate change through the perspective of moss. Combining the artist's experiences with moss's silent resilience, it narrates environmental change, sensory numbness, and visual awakening.

Moss, a silent observer of Earth, symbolizes humanity's desensitization to climate change. The artist uses allergic reaction numbness as a metaphor for this gradual desensi- tization, reflecting the helplessness in the face of environ- mental crises.

Visitors enter a moss-like environment, transitioning from numbness to awakening, highlighting the urgency of climate change and promoting awareness and action. The artist aims to raise public consciousness and encourage reflection on our numbness to environmental shifts.

2024. Fashion Installation. Dimensions Variable.

This project encapsulates her journey through a diverse and dynamic society. She navigates a microcosm of the broader world, where various backgrounds, resources, and perspectives intersect. Despite their differences, people find common ground, connect, and grow together.

Over time, these vibrant moments become integral to their identities, each shaped by unique experiences. These ephemeral instances are invaluable, filled with laughter, aspirations, and shared memories.

City of Scars is a language translation and sound art project done by converting the traces of the construction sites to natural language and music notes, letting the audience listen to the cry of the scars of the Earth, to reflect on the duality of the relationship between human and non-human or nature. The project aims to poetically explore the possibilities of future language, music and musical notation, breaking down the boundaries of classical music and instruments.

City of Scars is a language translation and sound art project done by converting the traces of the construction sites to natural language and music notes, letting the audience listen to the cry of the scars of the Earth, to reflect on the duality of the relationship between human and non-human or nature. The project aims to poetically explore the possibilities of future language, music and musical notation, breaking down the boundaries of classical music and instruments.

2024. Chinese Art Paper, Metal Gauze, Steel Grow Cage, Spray Foam. Dimensions Variable.

This work merges traditional canvas with sculpture, creating a series of wall pieces divided into two parts: Death and Life. "Death" features wall sculptures with a black base, while "Life" has a red base. On these canvases, red and black wire gauzes form irregular, organic shapes, covered with Xuan paper over biomorphic structures made from spray foam. The contrast between the rectangular canvas and the organic forms highlights the vitality of the biomorphic shapes.

On the Xuan paper, the artist inscribed two lines in Small Seal Script: “Even though I walk through the darkest valley, I will fear no evil” from the Psalms of the Bible. This use of traditional Chinese calligraphy for a Western religious text creates a striking juxtaposition, emphasizing the interplay between cultural traditions and the universality of human experience.

2023-Ongoing. Digital Art. Dimensions Variable.

Time imprisons us all, endlessly moving from the past into the unknown future. Yet, imagination and technology break these bounds, linking ancient myths to uncharted cosmic galaxies.
As the first dragon's mark was etched into the earth and the legend of the first phoenix spread, I witnessed planes taking off, rockets launching, and humanity reaching for the stars. I also envisioned thriving civilizations on this land a thousand years from now.

Dragons and phoenixes, as myths and totems, embody humanity's imagination, hope, and relentless struggle. Born to soar into the cosmos and touch the sun, they remain guardians of our land, bestowing civilization upon the ages.

2023-Ongoing. Glassine Paper, Ink, Stamp, Glossy Prints, Packing Tape. Dimension Variable.

A ritualistic dialogue emerges during late-night car rides when the invited interlocutor and I feel lost and direction- less. These car rides have no time limit or final destination. In the car, we share deeply personal and often unvoiced thoughts and musings, moving forward together, propelled by the vehicle’s momentum.

2023-Ongoing. Glassine Paper, Ink, Stamp, Glossy Prints, Packing Tape. Dimension Variable.

A ritualistic dialogue emerges during late-night car rides when the invited interlocutor and I feel lost and direction- less. These car rides have no time limit or final destination. In the car, we share deeply personal and often unvoiced thoughts and musings, moving forward together, propelled by the vehicle’s momentum.

2023-Ongoing. Glassine Paper, Ink, Stamp, Glossy Prints, Packing Tape. Dimension Variable.

A ritualistic dialogue emerges during late-night car rides when the invited interlocutor and I feel lost and direction- less. These car rides have no time limit or final destination. In the car, we share deeply personal and often unvoiced thoughts and musings, moving forward together, propelled by the vehicle’s momentum.

2023-Ongoing. Glassine Paper, Ink, Stamp, Glossy Prints, Packing Tape. Dimension Variable.

A ritualistic dialogue emerges during late-night car rides when the invited interlocutor and I feel lost and direction- less. These car rides have no time limit or final destination. In the car, we share deeply personal and often unvoiced thoughts and musings, moving forward together, propelled by the vehicle’s momentum.

"Ouroboros (Contrails)" is a series of linked photographs, creating a horizontal line composed of connecting contrails, which are clouds streaks produced by aircrafts. The continuous line threads together different skies, pointing toward a unison direction, carrying on each other's trajectory, and subsequently creating a loop that repeats itself. This work examines a shared connection between familiar atmospheres from different locations and times. With thoughts of heading East (per physical mapping orientation), tracing my way back home to Vietnam, the initial intention of defined points of departure and destination became questions of uncertainty and cyclical nature of our pursuits.

"Ouroboros (Contrails)" is a series of linked photographs, creating a horizontal line composed of connecting contrails, which are clouds streaks produced by aircrafts. The continuous line threads together different skies, pointing toward a unison direction, carrying on each other's trajectory, and subsequently creating a loop that repeats itself. This work examines a shared connection between familiar atmospheres from different locations and times. With thoughts of heading East (per physical mapping orientation), tracing my way back home to Vietnam, the initial intention of defined points of departure and destination became questions of uncertainty and cyclical nature of our pursuits.

"Ouroboros (Contrails)" is a series of linked photographs, creating a horizontal line composed of connecting contrails, which are clouds streaks produced by aircrafts. The continuous line threads together different skies, pointing toward a unison direction, carrying on each other's trajectory, and subsequently creating a loop that repeats itself. This work examines a shared connection between familiar atmospheres from different locations and times. With thoughts of heading East (per physical mapping orientation), tracing my way back home to Vietnam, the initial intention of defined points of departure and destination became questions of uncertainty and cyclical nature of our pursuits.

"Ouroboros (Contrails)" is a series of linked photographs, creating a horizontal line composed of connecting contrails, which are clouds streaks produced by aircrafts. The continuous line threads together different skies, pointing toward a unison direction, carrying on each other's trajectory, and subsequently creating a loop that repeats itself. This work examines a shared connection between familiar atmospheres from different locations and times. With thoughts of heading East (per physical mapping orientation), tracing my way back home to Vietnam, the initial intention of defined points of departure and destination became questions of uncertainty and cyclical nature of our pursuits.

Year: 2023
Medium: High-quality laser exposure laminated on 3mm Dibond Plate
Dimensions: 80 x 110 cm, 40 x 55 cm
Edition of 5 + 1 AP

“Flux Selves” is an artistic exploration of the concept of the self and its relationship with the surrounding world beyond a binary, human-centered perspective.

The work is presented in the form of a series of more-than-human portraits in the context of a Post-photography discourse. Each portrait tells a different story resulting from speculative, fictional and personal narratives, giving voice to different human and non-human subjects. Narratives that want to push the boundaries between real and fictional, and highlight a network of human and non-human subjectivities with their environmental and sociocultural influences.

Year: 2023
Medium: High-quality laser exposure laminated on 3mm Dibond Plate
Dimensions: 80 x 110 cm, 40 x 55 cm
Edition of 5 + 1 AP

“Flux Selves” is an artistic exploration of the concept of the self and its relationship with the surrounding world beyond a binary, human-centered perspective.

The work is presented in the form of a series of more-than-human portraits in the context of a Post-photography discourse. Each portrait tells a different story resulting from speculative, fictional and personal narratives, giving voice to different human and non-human subjects. Narratives that want to push the boundaries between real and fictional, and highlight a network of human and non-human subjectivities with their environmental and sociocultural influences.

Year: 2023
Medium: High-quality laser exposure laminated on 3mm Dibond Plate
Dimensions: 80 x 110 cm, 40 x 55 cm
Edition of 5 + 1 AP

“Flux Selves” is an artistic exploration of the concept of the self and its relationship with the surrounding world beyond a binary, human-centered perspective.

The work is presented in the form of a series of more-than-human portraits in the context of a Post-photography discourse. Each portrait tells a different story resulting from speculative, fictional and personal narratives, giving voice to different human and non-human subjects. Narratives that want to push the boundaries between real and fictional, and highlight a network of human and non-human subjectivities with their environmental and sociocultural influences.

Nüshu is a syllabic script created and used exclusively by women from the Yao ethnic tribe in Jiangyong County, Hunan Province, China. For many centuries, these women were forbidden formal education and developed the Nüshu script to communicate with one another. It is a symbol of female empowerment and cultural heritage. As an unknown Nüshu practitioner once said: "Men have their script, books, and texts; they are men of honor. We have our own script, books, and texts; we are women of honor."

This secret written language of women is often written in the format of poems, letters, and songs. It serves as an escape and a secret medium for women to express their pain, sorrow, and hope. For hundreds of years, this silent script was unknown outside of Jiangyong and remained hidden until the 1980s. With the death of the last fluent native speaker 16 years ago, this little-known written language is now on the brink of extinction.

This project aims to create a social media-based digital platform dedicated to preserving Nüshu, exploring its cultural importance, and promoting feminist values. Through the use of a virtual ambassador, the project seeks to engage diverse audiences, raise awareness of Nüshu, and deepen understanding of its historical significance.

Nüshu is a syllabic script created and used exclusively by women from the Yao ethnic tribe in Jiangyong County, Hunan Province, China. For many centuries, these women were forbidden formal education and developed the Nüshu script to communicate with one another. It is a symbol of female empowerment and cultural heritage. As an unknown Nüshu practitioner once said: "Men have their script, books, and texts; they are men of honor. We have our own script, books, and texts; we are women of honor."

This secret written language of women is often written in the format of poems, letters, and songs. It serves as an escape and a secret medium for women to express their pain, sorrow, and hope. For hundreds of years, this silent script was unknown outside of Jiangyong and remained hidden until the 1980s. With the death of the last fluent native speaker 16 years ago, this little-known written language is now on the brink of extinction.

This project aims to create a social media-based digital platform dedicated to preserving Nüshu, exploring its cultural importance, and promoting feminist values. Through the use of a virtual ambassador, the project seeks to engage diverse audiences, raise awareness of Nüshu, and deepen understanding of its historical significance.

Nüshu is a syllabic script created and used exclusively by women from the Yao ethnic tribe in Jiangyong County, Hunan Province, China. For many centuries, these women were forbidden formal education and developed the Nüshu script to communicate with one another. It is a symbol of female empowerment and cultural heritage. As an unknown Nüshu practitioner once said: "Men have their script, books, and texts; they are men of honor. We have our own script, books, and texts; we are women of honor."

This secret written language of women is often written in the format of poems, letters, and songs. It serves as an escape and a secret medium for women to express their pain, sorrow, and hope. For hundreds of years, this silent script was unknown outside of Jiangyong and remained hidden until the 1980s. With the death of the last fluent native speaker 16 years ago, this little-known written language is now on the brink of extinction.

This project aims to create a social media-based digital platform dedicated to preserving Nüshu, exploring its cultural importance, and promoting feminist values. Through the use of a virtual ambassador, the project seeks to engage diverse audiences, raise awareness of Nüshu, and deepen understanding of its historical significance.

Year: 2024

“Flux Selves” is an artistic exploration of the concept of the self and its relationship with the surrounding world beyond a binary, human-centered perspective.

The work is presented in the form of a series of more-than-human portraits in the context of a Post-photography discourse. Each portrait tells a different story resulting from speculative, fictional and personal narratives, giving voice to different human and non-human subjects. Narratives that want to push the boundaries between real and fictional, and highlight a network of human and non-human subjectivities with their environmental and sociocultural influences.

Year: 2024

“Flux Selves” is an artistic exploration of the concept of the self and its relationship with the surrounding world beyond a binary, human-centered perspective.

The work is presented in the form of a series of more-than-human portraits in the context of a Post-photography discourse. Each portrait tells a different story resulting from speculative, fictional and personal narratives, giving voice to different human and non-human subjects. Narratives that want to push the boundaries between real and fictional, and highlight a network of human and non-human subjectivities with their environmental and sociocultural influences.

Year: 2024

“Flux Selves” is an artistic exploration of the concept of the self and its relationship with the surrounding world beyond a binary, human-centered perspective.

The work is presented in the form of a series of more-than-human portraits in the context of a Post-photography discourse. Each portrait tells a different story resulting from speculative, fictional and personal narratives, giving voice to different human and non-human subjects. Narratives that want to push the boundaries between real and fictional, and highlight a network of human and non-human subjectivities with their environmental and sociocultural influences.

Fusion Mandalas are wall-mounted rotating mandalas made out of color-coded dot stickers we use to organize, arrange, and sell, collaged on acrylic disks secured on battery-powered rotating engines. A mixture of sacred and profane, high and low, these mandalas interrogate the idea of devotional journeys. I challenge the purity of the mandala, a symbol of life, mind, and perfection, by creating divergent structures and colliding grids that play off each other without obviously disturbing the harmony required for a meditative journey and prolonged visual conversation. While neither making nor contemplating these mandalas is sacred per se; as with traditional mandalas, the work's energy resides in both the focused, devotional act of creation and the later contemplation of the object. 

An introspective mixed reality experience that tells a story of deconstructing inner turmoil towards self-reconciliation. Through ascending the mental and physical composition of the body, it illustrates the journey from anxiety to serenity.
With projection and Unreal Engine 5, it aims to create an immersive atmosphere that evokes strong emotional connections.

The "Zen Flow: Mountains of the Mind" series embodies a journey through the spiritual essence of Zen Buddhism blended with the abstract forms of traditional Chinese landscape painting. The pieces were inspired by Jeanne's spiritual experience as a female Buddhist Monk (Bhikkhuni) after surviving from lung cancer. They reflect the "landscape within the mind," capturing the Buddhist concept of inner tranquility and the ancient philosophical doctrine of the "Three Distances" in Chinese art. These distances—high (the vertical dimension), deep (the horizontal expansion), and level (spatial variation across the plane)—serve as metaphors for life's spiritual and existential journeys. The artworks focus on the meditative and introspective experience, inviting viewers to immerse themselves in a painted pilgrimage through symbolic landscapes and to become "mountain dwellers" in their quest for inner peace.

The "Zen Flow: Mountains of the Mind" series embodies a journey through the spiritual essence of Zen Buddhism blended with the abstract forms of traditional Chinese landscape painting. The pieces were inspired by Jeanne's spiritual experience as a female Buddhist Monk (Bhikkhuni) after surviving from lung cancer. They reflect the "landscape within the mind," capturing the Buddhist concept of inner tranquility and the ancient philosophical doctrine of the "Three Distances" in Chinese art. These distances—high (the vertical dimension), deep (the horizontal expansion), and level (spatial variation across the plane)—serve as metaphors for life's spiritual and existential journeys. The artworks focus on the meditative and introspective experience, inviting viewers to immerse themselves in a painted pilgrimage through symbolic landscapes and to become "mountain dwellers" in their quest for inner peace.

The "Zen Flow: Mountains of the Mind" series embodies a journey through the spiritual essence of Zen Buddhism blended with the abstract forms of traditional Chinese landscape painting. The pieces were inspired by Jeanne's spiritual experience as a female Buddhist Monk (Bhikkhuni) after surviving from lung cancer. They reflect the "landscape within the mind," capturing the Buddhist concept of inner tranquility and the ancient philosophical doctrine of the "Three Distances" in Chinese art. These distances—high (the vertical dimension), deep (the horizontal expansion), and level (spatial variation across the plane)—serve as metaphors for life's spiritual and existential journeys. The artworks focus on the meditative and introspective experience, inviting viewers to immerse themselves in a painted pilgrimage through symbolic landscapes and to become "mountain dwellers" in their quest for inner peace.

The "Zen Flow: Mountains of the Mind" series embodies a journey through the spiritual essence of Zen Buddhism blended with the abstract forms of traditional Chinese landscape painting. The pieces were inspired by Jeanne's spiritual experience as a female Buddhist Monk (Bhikkhuni) after surviving from lung cancer. They reflect the "landscape within the mind," capturing the Buddhist concept of inner tranquility and the ancient philosophical doctrine of the "Three Distances" in Chinese art. These distances—high (the vertical dimension), deep (the horizontal expansion), and level (spatial variation across the plane)—serve as metaphors for life's spiritual and existential journeys. The artworks focus on the meditative and introspective experience, inviting viewers to immerse themselves in a painted pilgrimage through symbolic landscapes and to become "mountain dwellers" in their quest for inner peace.

Penglai is a concept in Chinese mythology that shares common elements with different folklores in China and Japan. At the heart of this myth is the divine tree with its fruits as a symbol of the desire for immortality and growth. Eternity, growth and connection are concepts echoed across global cultures, such as Yggdrasil, the Tree of Life, and the Egyptian Acacia. These similarities suggest a common perspective across diverse cultures. This work explores the possibility of a magical interconnection between our aboriginal cultures and asks a compelling question: Are the divine trees described in various cultures distinct beings, or do they originate from a single, ancient source? Incorporating a silver snake, a creature stepping in transformative symbolism, along with the combination of clay and lotus as a hint of the origin, riverstones as the land, and a disco ball representing the sun, casting fragmented yet harmonious light, the work creates a space where past and present, global and local, and the celestial and terrestrial converge. This convergence compels us to consider that maybe the commons between us are more than we think.

Penglai is a concept in Chinese mythology that shares common elements with different folklores in China and Japan. At the heart of this myth is the divine tree with its fruits as a symbol of the desire for immortality and growth. Eternity, growth and connection are concepts echoed across global cultures, such as Yggdrasil, the Tree of Life, and the Egyptian Acacia. These similarities suggest a common perspective across diverse cultures. This work explores the possibility of a magical interconnection between our aboriginal cultures and asks a compelling question: Are the divine trees described in various cultures distinct beings, or do they originate from a single, ancient source? Incorporating a silver snake, a creature stepping in transformative symbolism, along with the combination of clay and lotus as a hint of the origin, riverstones as the land, and a disco ball representing the sun, casting fragmented yet harmonious light, the work creates a space where past and present, global and local, and the celestial and terrestrial converge. This convergence compels us to consider that maybe the commons between us are more than we think.

Digital/visual Artist: Aiping

Sound from Silence Wave's production single: The Nature of Love.

Electrotherapy, and light flashes go hand in hand with the languid quotes of a middle-aged gentleman, specialising in adorable human beings caught in the throes of love.

Nüshu is a syllabic script created and used exclusively by women from the Yao ethnic tribe in Jiangyong County, Hunan Province, China. For many centuries, these women were forbidden formal education and developed the Nüshu script to communicate with one another. It is a symbol of female empowerment and cultural heritage. As an unknown Nüshu practitioner once said: "Men have their script, books, and texts; they are men of honor. We have our own script, books, and texts; we are women of honor."

2019 – 2024. UV inkjet print, acrylic paint and pen ink on canvas. 59h in. x 31w in.

"How do we perceive the world through eyes that see differently?"

"Beyond Characters: The Unseen Labyrinth" is an evocative journey through the unseen complexities of dyslexia, articulated through an interactive art installation that bridges technology, narrative, and sensory experience. Merging the enchantment of Chinese fairy tales with advanced gaze-tracking and generative AI technology, this installation immerses viewers in the dynamic, often challenging world of dyslexic perception. As tales unfold, text transforms—morphing from clarity to a visually intricate maze that mirrors the internal and societal struggles faced by those with dyslexia.

At its heart, this project is a multi-layered exploration of language, perception, and the hidden battles of dyslexia, particularly within the Chinese context—a culture where the condition remains less understood. By simulating the reading difficulties that mark the onset of dyslexia, especially in children, "Beyond Characters" engages audiences in a multisensory dialogue, transitioning from distorted text to harmonious visuals and soundscapes. This progression not only replicates the dyslexic experience but also celebrates the unique cognitive strategies employed to navigate a text-dominated world.

"Beyond Characters" delves deeper, challenging prevalent societal misconceptions and biases about dyslexia. It prompts reflection on how cultural perceptions shape our understanding of learning differences and advocates for a more empathetic, inclusive view of cognitive diversity. This project highlights the concept that our perceptions are deeply personal, shaped by individual experiences and cognition, encouraging viewers to reflect on their own perspectives. This immersive experience transcends mere awareness to foster genuine empathy and understanding for those with dyslexia. It underscores the beauty and resilience inherent in diverse ways of perceiving and engaging with the world, advocating for a society that values and embraces all forms of cognitive experience.