Now and Then is a photographic project exploring time, memory, and place through lomography. It began when I came across a collection of old photographs at the Boston Public Library. To my surprise, many of the locations were places I had visited myself. This sparked a connection between past and present.

I began collecting historical photos of places I often go, then took new photographs from the same angles. I printed the old images in black and white on transparent film. For the new photos, I used lomography—a deep blue printing process.

This choice was personal. My father is an architect, and I grew up surrounded by blueprints. To me, those drawings were symbols of the future—plans of what a place might become. In this work, lomography becomes more than just a technique. It becomes a way to imagine time: a blueprint where the past meets the future in the present.

A Path Through the Gates is a work I created to explore the possibilities of information design. This work traces three unfolding journeys—from my dorm to the classroom, classroom to my Boston apartment, and finally, across continents to my home in China. the piece reflects on the quiet role of wayfinding and information design—subtle and often overlooked—guides us through spaces both familiar and unknown.

Extremely Detail is an artistic project that involves directly photocopying the intricate details of clothing I love. Each page captures a unique aspect, preserving texture, stitching, and form with mechanical precision. These pages are then carefully bound into volumes by my friend Shuofei Li using a sewing machine. Because no two pages are the same, editing and compiling them into a coherent whole presents a significant challenge—both technically and conceptually.

A White Container

Think of white as a container—silent, open, and generous.

White accepts everything, yet in doing so, it transforms, becoming marked, no longer purely white. This book is an exhibition in itself, a quiet archive that gathers traces, impressions, and the invisible frameworks that shape artistic experience.

Presented as a tactile, sculptural object, A White Container explores the material and symbolic qualities of whiteness. Odd-numbered pages are pure white, embossed with subtle textures and forms—inviting touch, revealing structure. The reverse sides provide reflections and context: why each work was chosen, how white is used not to erase, but to reveal.

The book embraces the tension between preservation and contamination. As viewers handle its pages, it collects fingerprints and smudges—evidence of being seen, touched, and read. It becomes a record of its own exhibition, slowly shifting from container to contained.

The digital version, a white-on-white website, mirrors the physical object. Together, they frame an exploration of the overlooked: the tactile, the structural, the invisible grids beneath design, and the quiet power of white as both background and protagonist.

A White Container is for those who see white not as emptiness, but as presence. It invites artists, designers, and viewers to look closer—to see what usually goes unseen.