01. Menu (2024)
Menu (2024)
Medium: Digital work
Format: Digital artwork (with potential expansion into performance and immersive exhibition)
Description
Menu is a digital artwork and performance-based exhibition project that critiques the excess and emotional emptiness of consumerism by transforming discarded food waste into the aesthetics of luxury cuisine. Through digitally composed “dishes” made from scraps, peels, and other refuse, the project stages an ironic fine-dining fantasy—where what is normally rejected is elevated into something formally exquisite.
By presenting waste as desirable, Menu questions how contemporary consumption manufactures value: how triviality becomes temptation, and how desire is produced through styling, display, and ritual. The work invites viewers to confront the absurdity of modern consumer cycles and the invisible waste that sustains them, asking what we choose to celebrate, what we choose to discard, and why.
Conceived as a scalable series, Menu begins in digital form but can expand into an immersive installation and live performance environment. In future iterations, the project envisions a fine-dining setting where the full process—“cooking,” plating, and serving—becomes a public ritual. Visitors would encounter live-streamed preparation, interactive digital displays, and participatory components that allow them to contribute symbolic “waste materials” to an evolving menu. By collapsing the boundaries between art, waste, and luxury, Menu uses satire to open a broader conversation about consumer culture, sustainability, and cultural value
Conceived as a scalable series, Menu begins in digital form but can expand into an immersive installation and live performance environment. In future iterations, the project envisions a fine-dining setting where the full process—“cooking,” plating, and serving—becomes a public ritual. Visitors would encounter live-streamed preparation, interactive digital displays, and participatory components that allow them to contribute symbolic “waste materials” to an evolving menu. By collapsing the boundaries between art, waste, and luxury, Menu uses satire to open a broader conversation about consumer culture, sustainability, and cultural value
Award
Digital Art Award (Digital Work) — 2024 Annual Studio Art Student Exhibition, University of Toronto Scarborough (UTSC)
02. Heartbeat Symphony (2024)
Heartbeat Symphony (2024)
Dimensions: 0.3 × 0.3 × 1.5 m
Medium: Mixed materials (colorful beads, transparent spheres, and fuzzy textures)
Dimensions: 0.3 × 0.3 × 1.5 m
Medium: Mixed materials (colorful beads, transparent spheres, and fuzzy textures)
Description
Heartbeat Symphony is an installation that visualizes love as rhythm—palpitations, anticipation, and the occasional discord of disappointment—treating emotion as a pulsating symphony rather than a single, stable feeling. Translating these internal beats into physical form, the work assembles colorful beads, transparent spheres, and soft, fuzzy textures into a dense, tactile composition that reads like a score written in
material.
Each element functions as a “note” that reflects a different perception of love: clarity and fragility in translucence, intensity in saturated
Each element functions as a “note” that reflects a different perception of love: clarity and fragility in translucence, intensity in saturated
color, comfort and uncertainty in texture. By layering contrasting surfaces and repeating spherical forms, Heartbeat Symphony maps the complexity of emotional experience—how tenderness, excitement, and disappointment can coexist and shift in tempo.
Inviting close viewing and embodied imagination, the installation asks the audience to recall the heart’s rhythm and recognize their own emotional patterns within it. Heartbeat Symphony proposes that love is not a single melody, but a changing arrangement—felt in cycles, pauses, echoes, and vibrations across the body.
Inviting close viewing and embodied imagination, the installation asks the audience to recall the heart’s rhythm and recognize their own emotional patterns within it. Heartbeat Symphony proposes that love is not a single melody, but a changing arrangement—felt in cycles, pauses, echoes, and vibrations across the body.
03. Displacement (2024)
Displacement (2024)
Medium: Acrylic on canvas
Dimensions: 60 × 45 cm
Dimensions: 60 × 45 cm
Description
Displacement is an acrylic painting that translates my experience of constant relocation into an abstract cityscape shaped by memory, rupture, and emotional distance. Working in purple, blue, yellow, and white, I compress multiple “homes” into a single visual field—fragments of my hometown and the places I have lived layered together until they become inseparable. The result is not a map of one location, but a psychological landscape built from overlapping impressions.
The cityscape functions as a metaphor for disconnection: structures appear and dissolve, as if the scene is being assembled and erased at the same time. Two white voids interrupt the composition as collapsed zones—moments where recollection fails, or where what I imagined diverges sharply from what was real. These absences are not blank space; they represent pressure points in memory, where the mind cannot reconcile competing versions of the past.
The canvas itself is central to the work’s meaning. Its porous surface becomes a terrain for accumulation—an archive that absorbs marks, revisions, and emotional residue. Painting becomes a cathartic method of sorting what cannot be neatly organized: the instability of belonging, the confusion of repeated departure, and the subtle grief of never fully arriving. Displacement ultimately traces the shifting boundary between memory and reality, revealing how the landscapes we carry inside us can be as unstable—and as defining—as the places we inhabit.
The cityscape functions as a metaphor for disconnection: structures appear and dissolve, as if the scene is being assembled and erased at the same time. Two white voids interrupt the composition as collapsed zones—moments where recollection fails, or where what I imagined diverges sharply from what was real. These absences are not blank space; they represent pressure points in memory, where the mind cannot reconcile competing versions of the past.
The canvas itself is central to the work’s meaning. Its porous surface becomes a terrain for accumulation—an archive that absorbs marks, revisions, and emotional residue. Painting becomes a cathartic method of sorting what cannot be neatly organized: the instability of belonging, the confusion of repeated departure, and the subtle grief of never fully arriving. Displacement ultimately traces the shifting boundary between memory and reality, revealing how the landscapes we carry inside us can be as unstable—and as defining—as the places we inhabit.