Paul Rand Lecture Poster Series—Min Oh
Animated posters, variable duration, 2025
The Paul Rand Lecture Poster Series is created for guest artists and designers visiting the Graphic Design department at the Yale School of Art as part of the Paul Rand Lecture Series. Each guest is envisioned as an inhabitant of an alternate miniature world—their work meticulously reproduced in miniature and photographed in situ within a mail cubby at school. If you look closely, you will find a continuous narrative woven into them.
Miscellanea (Mouse hole)
Installation in An oblique character... , thesis exhibition, 2025
Wind and All
33 Collage Posters, 47 × 66 in, 2022
A series of experimental collage posters using local materials and my own photographs of everyday items, tools, and animals on the farm where I lived with my family. I wheatpasted one up as I made new collages, and this was the beginning of an unexpected exhibition, where nature and time was creating alongside me, adding final touches to my artwork. It Is Quite Nice Here
Publication, 150 × 200mm, 302 pages, 2022
In 2020, my grandparents‘ visit from China to our farm in Australia was prolonged from three months to two years. During this unexpected long stay, I had the opportunity to build a close bond with them. Closer to their time of return, I made It Is Quite Nice Here, gathering different memories and traces of their time on the farm with us.
Hand made eroded paper.
Paper pulp, 2023 A Narcissistic Mouse Poet
Installation in An oblique character... , thesis exhibition, 2025 the mouse is her sorcerer
Thesis publication, 6 × 8.5 in, 2025
Thesis publication consisting of fictional writings I constructed from fragments—objects, processes, and memories—extracted from selected projects during my MFA. Guided by a narrator who addresses the desire of the main protagonist—the reader, you—to read about the designer’s thesis, the narrative unfolds as characters like the mouse, the snail, and the woman enter, each offering their own stories and glimpses into the evolving thesis. The publication is bound by a central ‘portal,’ designed to be read in all four directions—a circular motion.
My Hand On Yours
Coding, website, 2021
If we can no longer be intimate in the physical world, can I place my hand on yours on the internet? I made My Hand On Yours during lockdown in response to the new social distancing rules. People are invited to upload images of their hand/s performing an activity in their private space to the website and place my virtual hand on top of theirs to create intimacy. online.myhandonyours.com
Make It A Party Wherever You Go
Publication, 150mm × 230mm, 232 pages, 2019 Drawing component for Seb McLaclan’s poster. Birthday
Collagebook, 44 × 338mm, 40 pages, 2022
As I took many photos on the farm, I began experimenting with these images—manipulating them, cropping organic shapes and lines out of them and eventually reconstructed them to create new abstract images. This collagebook is a collection of my image visual practices at one stage. Miniature props made for Min Oh’s Paul Rand Lecture Poster, recreating a fragment of her exhibition and performance Conversation Dance. Paul Rand Lecture Poster Series—Bráulio Amado
Animated posters, variable duration, 2025
The Paul Rand Lecture Poster Series is created for guest artists and designers visiting the Graphic Design department at the Yale School of Art as part of the Paul Rand Lecture Series. Each guest is envisioned as an inhabitant of an alternate miniature world—their work meticulously reproduced in miniature and photographed in situ within a mail cubby at school. If you look closely, you will find a continuous narrative woven into them.
the mouse is her sorcerer
Thesis publication, 6 × 8.5 in, 2025
Thesis publication consisting of fictional writings I constructed from fragments—objects, processes, and memories—extracted from selected projects during my MFA. Guided by a narrator who addresses the desire of the main protagonist—the reader, you—to read about the designer’s thesis, the narrative unfolds as characters like the mouse, the snail, and the woman enter, each offering their own stories and glimpses into the evolving thesis. The publication is bound by a central ‘portal,’ designed to be read in all four directions—a circular motion.
Accordion House, 2023
A collaborative publication made with Tomáš Hlava, documenting—non-literally—a discourse we had by mapping the route we walked during our conversation through accordion folds. The book experiments with scale and perspective, treating the book as a miniature container that holds the vastness of shared thought, spatial memory, and relational time.
Prop (eroded book) for Seb McLaclan’s poster Poster for Seb McLauchlan's talk
Acrylic, Pencil, Charcoal, Pastel, 2024 the mouse is her sorcerer
Thesis publication, 6 × 8.5 in, 2025
Thesis publication consisting of fictional writings I constructed from fragments—objects, processes, and memories—extracted from selected projects during my MFA. Guided by a narrator who addresses the desire of the main protagonist—the reader, you—to read about the designer’s thesis, the narrative unfolds as characters like the mouse, the snail, and the woman enter, each offering their own stories and glimpses into the evolving thesis. The publication is bound by a central ‘portal,’ designed to be read in all four directions—a circular motion. Looking through a marble #1 Postcard made in collaboration with June Lihua Yu, 2024 mini(ature) ant bear Type Specimen
Publication, 11.25 × 16.5 in, 2024
A type specimen for a typeface designed specifically for a minuscule anthology titled "ant bear." The concept explores miniaturisation—how, when human-scale objects are shrunk for dollhouses or miniature settings, fine details are often lost, with corners merging and forms becoming indistinct blobs. mini(ature) ant bear Type Specimen
Publication, 11.25 × 16.5 in, 2024
A type specimen for a typeface designed specifically for a minuscule anthology titled "ant bear." The concept explores miniaturisation—how, when human-scale objects are shrunk for dollhouses or miniature settings, fine details are often lost, with corners merging and forms becoming indistinct blobs.
Paul Rand Lecture Poster Series—Na Kim
Animated posters, variable duration, 2025
The Paul Rand Lecture Poster Series is created for guest artists and designers visiting the Graphic Design department at the Yale School of Art as part of the Paul Rand Lecture Series. Each guest is envisioned as an inhabitant of an alternate miniature world—their work meticulously reproduced in miniature and photographed in situ within a mail cubby at school. If you look closely, you will find a continuous narrative woven into them.
mini(ature) ant bear Type Specimen
Publication, 11.25 × 16.5 in, 2024
From Sunrise to Dusk
Photobook, 244 × 338mm, 44 pages, 2022
When I lived on a farm with my family during the pandemic, I became increasingly attuned to the nature around me, noticing details I had overlooked before. I picked up my camera and began capturing moments from sunrise to sundown. The traces of each season were always present—reflected in the shifting landscapes, plants, and animals. Looking back at these photos, I can vividly recall the memories behind each one.
Paul Rand Lecture Poster Series—Julia Born
Animated posters, variable duration, 2025
The Paul Rand Lecture Poster Series is created for guest artists and designers visiting the Graphic Design department at the Yale School of Art as part of the Paul Rand Lecture Series. Each guest is envisioned as an inhabitant of an alternate miniature world—their work meticulously reproduced in miniature and photographed in situ within a mail cubby at school. If you look closely, you will find a continuous narrative woven into them. Photoshoot for Julia Born’s Paul Rand Lecture Poster in our school mail cubby.
Elastra (a revival of W. A. Dwiggins' Electra), 2025
In 'Letterform Design', a semester-long class led by Nina Stoessinger, I revived W. A. Dwiggins' Electra. My revival features accentuated serifs—bolder and longer—drawn to preserve the rounded edges visible in the original scans at 8pt. This specimen showcases the intended use of Elastra at small point sizes.
mini(ature) ant bear Type Specimen
Publication, 11.25 × 16.5 in, 2024
A type specimen for a typeface designed specifically for a minuscule anthology titled "ant bear." The concept explores miniaturisation—how, when human-scale objects are shrunk for dollhouses or miniature settings, fine details are often lost, with corners merging and forms becoming indistinct blobs. Process of making a large-scale simulacra of snail-eaten mail using cotton paper pulp. Mouse Mail
Copy paper, 1.75 × 1.75 × 2.5 in, 2025 Coral Typography Tool—Base #3
Resin 3d print, 2021
Inspired by coral reefs I modelled these letters in zBrush and 3d printed them to make a physically arrangeable typography tool. This tool kit provides three variations per letter and has three base forms to play with. In addition, coral extensions of four lengths are also provided to allow for more composition possibilities. Each comes with 10 in the kit.
Poster for Distinguished Artist Colloquim with holes, 2024. Mouse Mail
Copy paper, 1.75 × 1.75 × 2.5 in, 2025
Snails eating paper, 2023 Letterpress poster made during Typographics Printing Program led by Dafi Khune.
linoleum, 2024
From Sunrise to Dusk
Photobook, 244 × 338mm, 44 pages, 2022
When I lived on a farm with my family during the pandemic, I became increasingly attuned to the nature around me, noticing details I had overlooked before. I picked up my camera and began capturing moments from sunrise to sundown. The traces of each season were always present—reflected in the shifting landscapes, plants, and animals. Looking back at these photos, I can vividly recall the memories behind each one. Birthday
Collagebook, 44 × 338mm, 40 pages, 2022
As I took many photos on the farm, I began experimenting with these images—manipulating them, cropping organic shapes and lines out of them and eventually reconstructed them to create new abstract images. This collagebook is a collection of my image visual practices at one stage.
Wind and All
33 Collage Posters, 47 × 66 in, 2022
Wind and All
33 Collage Posters, 47 × 66 in, 2022
A series of experimental collage posters using local materials and my own photographs of everyday items, tools, and animals on the farm where I lived with my family. I wheatpasted one up as I made new collages, and this was the beginning of an unexpected exhibition, where nature and time was creating alongside me, adding final touches to my artwork. Accordion House, 2023
A collaborative publication made with Tomáš Hlava, documenting—non-literally—a discourse we had by mapping the route we walked during our conversation through accordion folds. The book experiments with scale and perspective, treating the book as a miniature container that holds the vastness of shared thought, spatial memory, and relational time.
The Egg in The Landscape
Publication, 11 × 14 in, 52 pages, 2023
Inspired by André Pieyre de Mandiargues’ short story, from which I also borrowed the title. He explores how a slight imperfection in a windowpane distorts reality into a surreal universe. In response, I photographed my surroundings through a marble, using it to see imaginary worlds which I then drew. Drawings are woven with extracts from the story hidden between the folds.
Fall 2024 Oral Presentation Scripts
Riso-printed publication, 4 × 7 in, 126 pages, 2024
A compilation of oral presentation scripts delivered by second-year Graphic Design students in September 2024. Each script has been preserved in its original typeface and point size, with minimal editorial interventions limited to the use of Times New Roman at 14pt. Across 37 copies, the spines of these editions form an extract from Lydia Davis’s short story, “The Mouse.” The publication is housed in a book sleeve, cradling a token of the season: an autumn leaf, plucked from the very moment this book seeks to preserve.
Postcards made in collaboration with June Lihua Yu, 2024. Typography Posters, 2021 Fall 2024 Oral Presentation Scripts
Riso-printed Publication, 4 × 7 in, 126 pages, 2024
From Sunrise to Dusk
Photobook, 244 × 338mm, 44 pages, 2022
When I lived on a farm with my family during the pandemic, I became increasingly attuned to the nature around me, noticing details I had overlooked before. I picked up my camera and began capturing moments from sunrise to sundown. The traces of each season were always present—reflected in the shifting landscapes, plants, and animals. Looking back at these photos, I can vividly recall the memories behind each one. Miscellaneous Box, 2024
Reading and typing performance using custom inDesign script, 2023 From Sunrise to Dusk
Photobook, 244 × 338mm, 44 pages, 2022
Trail, Masses
Publication, 8.5 × 11 in, 36 pages, 2023
An unbound collage book composed of graphic elements extracted from snail-eaten mail, featuring visual elements created through making abstract-shaped paper, tracing the feeding paths of snails, and embossing the remnants of eaten envelopes.
News from New Haven
colored pencils, 2024
My Hand On Yours
Coding, website, 2021
If we can no longer be intimate in the physical world, can I place my hand on yours on the internet? I made My Hand On Yours during lockdown in response to the new social distancing rules. People are invited to upload images of their hand/s performing an activity in their private space to the website and place my virtual hand on top of theirs to create intimacy. online.myhandonyours.com Close up of my letterpress poster made during Typographics Printing Program led by Dafi Khune.
linoleum, 2024 Coral Typography Tool—Base #1
Resin 3d print, 2021
Inspired by coral reefs I modelled these letters in zBrush and 3d printed them to make a physically arrangeable typography tool. This tool kit provides three variations per letter and has three base forms to play with. In addition, coral extensions of four lengths are also provided to allow for more composition possibilities. Each comes with 10 in the kit. mini(ature) ant bear Type Specimen
Publication, 11.25 × 16.5 in, 2024
A type specimen for a typeface designed specifically for a minuscule anthology titled "ant bear." The concept explores miniaturisation—how, when human-scale objects are shrunk for dollhouses or miniature settings, fine details are often lost, with corners merging and forms becoming indistinct blobs.
mini(ature) ant bear Type Specimen
Publication, 11.25 × 16.5 in, 2024
A type specimen for a typeface designed specifically for a minuscule anthology titled "ant bear." The concept explores miniaturisation—how, when human-scale objects are shrunk for dollhouses or miniature settings, fine details are often lost, with corners merging and forms becoming indistinct blobs.
Paper Sculpture #2
Cotton paper pulp, 2023
Paper Sculpture #2 takes the opposite approach to #1—rather than recreating the remnants of snail-devoured paper, I traced the feeding paths of seven snails over two hours and reconstructed each trail as a separate paper structure, in effect, re-materialising what had been consumed.
Series of Writing Obstruction Tools I coded as webpages. Looking through a marble #3 Looking through a marble #2 The Egg in The Landscape
Publication, 11 × 14 in, 52 pages, 2023
Birthday
Collagebook, 44 × 338mm, 40 pages, 2022
As I took many photos on the farm, I began experimenting with these images—manipulating them, cropping organic shapes and lines out of them and eventually reconstructed them to create new abstract images. This collagebook is a collection of my image visual practices at one stage.
Poster for Seb McLauchlan's talk
Acrylic, Pencil, Charcoal, Pastel, 2024 Paper Sculpture #1
Cotton paper pulp, 2023
Paper Sculpture #1
Cotton paper pulp, 2023
Inspired by the distressed patterns and textures left behind on snail-devoured paper, I began to wonder—what if paper were intentionally made to be distressed from the start? In this piece, the scale is dramatically enlarged from its original letter-sized form, so when encountered, the human body assumes the size of the snail. Eaten Type, activated by letters.
Type design, 2024
An exploration of how type can mimic the way language erodes over time. This is a variable font defined by axes of time, activated by letters that were received “this year”, “last year,” “three years ago” and “six years ago.” With each passing year, the text becomes more degraded, until eventually, no message remains.
Fall 2024 Oral Presentation Scripts
Riso-printed publication, 4 × 7 in, 126 pages, 2024
A compilation of oral presentation scripts delivered by second-year Graphic Design students in September 2024. Each script has been preserved in its original typeface and point size, with minimal editorial interventions limited to the use of Times New Roman at 14pt. Across 37 copies, the spines of these editions form an extract from Lydia Davis’s short story, “The Mouse.” The publication is housed in a book sleeve, cradling a token of the season: an autumn leaf, plucked from the very moment this book seeks to preserve.
Make It A Party Wherever You Go
Publication, 150mm × 230mm, 232 pages, 2019
This publication documents the journey from conceiving the idea of the 'party table' to building it, to implementing it in various locations across the city of Melbourne, and observing its impact on the environments it was inserted into and the people inherent to those spaces.
Wind and All
33 Collage Posters, 47 × 66 in, 2022
A series of experimental collage posters using local materials and my own photographs of everyday items, tools, and animals on the farm where I lived with my family. I wheatpasted one up as I made new collages, and this was the beginning of an unexpected exhibition, where nature and time was creating alongside me, adding final touches to my artwork. Make It A Party Wherever You Go
Urban Intervention (Platform truck, cocktail table, rope, blu tac, ashtray, glass vase, flower, cloth hanger, instruction sheet), 2019
Make It A Party Wherever You Go is a response to a social issue about the lack of well-planned public space in Melbourne City. This project includes a self-made party table as an urban intervention, a printed publication, and a website.
ant bear
Publication, 2.44 x 3.35 in, 440 pages, 2024
An anthology that explores the idea of miniature as an alternate universe, interweaving essays on shrunken perspectives and what they signify, with a selection of fairytales featuring miniature figures and settings. In this book, fairytales are treated right-side up, suggesting their truths, while theoretical essays are upside down, requiring flipping and turning to aid reading. Snail mail collection from 2020 Making Things Public
Riso, 2019
Catalogue for MADA Graduate Show. Designed in collaboration with Melike Yucel. The mailbox at home in Australia, where I first began collecting snail-eaten mail. Type Specimen
190 × 270mm, 132 pages, 2023
Type Specimen
190 × 270mm, 132 pages, 2023
Trail, Masses
Publication, 8.5 × 11 in, 36 pages, 2023
An unbound collage book composed of graphic elements extracted from snail-eaten mail, featuring visual elements created through making abstract-shaped paper, tracing the feeding paths of snails, and embossing the remnants of eaten envelopes. Make It A Party Wherever You Go
Publication, 150mm × 230mm, 232 pages, 2019
This publication documents the journey from conceiving the idea of the 'party table' to building it, to implementing it in various locations across the city of Melbourne, and observing its impact on the environments it was inserted into and the people inherent to those spaces. Make It A Party Wherever You Go
Publication, 150mm × 230mm, 232 pages, 2019
This publication documents the journey from conceiving the idea of the 'party table' to building it, to implementing it in various locations across the city of Melbourne, and observing its impact on the environments it was inserted into and the people inherent to those spaces. Spreads from It Is Quite Nice Here, 2021. Fall 2024 Oral Presentation Scripts
Riso-printed publication, 4 × 7 in, 126 pages, 2024
A compilation of oral presentation scripts delivered by second-year Graphic Design students in September 2024. Each script has been preserved in its original typeface and point size, with minimal editorial interventions limited to the use of Times New Roman at 14pt. Across 37 copies, the spines of these editions form an extract from Lydia Davis’s short story, “The Mouse.” The publication is housed in a book sleeve, cradling a token of the season: an autumn leaf, plucked from the very moment this book seeks to preserve. My Hand On Yours
Coding, website, 2021
If we can no longer be intimate in the physical world, can I place my hand on yours on the internet? I made My Hand On Yours during lockdown in response to the new social distancing rules. People are invited to upload images of their hand/s performing an activity in their private space to the website and place my virtual hand on top of theirs to create intimacy. online.myhandonyours.com Wind and All
33 Collage Posters, 47 × 66 in, 2022
A series of experimental collage posters using local materials and my own photographs of everyday items, tools, and animals on the farm where I lived with my family. I wheatpasted one up as I made new collages, and this was the beginning of an unexpected exhibition, where nature and time was creating alongside me, adding final touches to my artwork. The Egg in The Landscape
Publication, 11 × 14 in, 52 pages, 2023
Inspired by André Pieyre de Mandiargues’ short story, from which I also borrowed the title. He explores how a slight imperfection in a windowpane distorts reality into a surreal universe. In response, I photographed my surroundings through a marble, using it to see imaginary worlds which I then drew. Drawings are woven with extracts from the story hidden between the folds. The Egg in The Landscape
Publication, 11 × 14 in, 52 pages, 2023
Inspired by André Pieyre de Mandiargues’ short story, from which I also borrowed the title. He explores how a slight imperfection in a windowpane distorts reality into a surreal universe. In response, I photographed my surroundings through a marble, using it to see imaginary worlds which I then drew. Drawings are woven with extracts from the story hidden between the folds. Trail, Masses
Publication, 8.5 × 11 in, 36 pages, 2023
An unbound collage book composed of graphic elements extracted from snail-eaten mail, featuring visual elements created through making abstract-shaped paper, tracing the feeding paths of snails, and embossing the remnants of eaten envelopes. Birthday
Collagebook, 44 × 338mm, 40 pages, 2022
As I took many photos on the farm, I began experimenting with these images—manipulating them, cropping organic shapes and lines out of them and eventually reconstructed them to create new abstract images. This collagebook is a collection of my image visual practices at one stage.
From Sunrise to Dusk
Photobook, 244 × 338mm, 44 pages, 2022
When I lived on a farm with my family during the pandemic, I became increasingly attuned to the nature around me, noticing details I had overlooked before. I picked up my camera and began capturing moments from sunrise to sundown. The traces of each season were always present—reflected in the shifting landscapes, plants, and animals. Looking back at these photos, I can vividly recall the memories behind each one. Make It A Party Wherever You Go
Publication, 150mm × 230mm, 232 pages, 2019
This publication documents the journey from conceiving the idea of the 'party table' to building it, to implementing it in various locations across the city of Melbourne, and observing its impact on the environments it was inserted into and the people inherent to those spaces. The Egg in The Landscape
Publication, 11 × 14 in, 52 pages, 2023
Inspired by André Pieyre de Mandiargues’ short story, from which I also borrowed the title. He explores how a slight imperfection in a windowpane distorts reality into a surreal universe. In response, I photographed my surroundings through a marble, using it to see imaginary worlds which I then drew. Drawings are woven with extracts from the story hidden between the folds. It Is Quite Nice Here
Publication, 150 × 200mm, 302 pages, 2022
Trail, Masses
Publication, 8.5 × 11 in, 36 pages, 2023
An unbound collage book composed of graphic elements extracted from snail-eaten mail, featuring visual elements created through making abstract-shaped paper, tracing the feeding paths of snails, and embossing the remnants of eaten envelopes. Spread from ant bear, 2024
Spreads from It Is Quite Nice Here, 2021. Elastra (a revival of W. A. Dwiggins' Electra)
Type Specimen, 5.5 × 8.5 in, 2025
In 'Letterform Design', a semester-long class led by Nina Stoessinger, I revived W. A. Dwiggins' Electra. My revival features accentuated serifs—bolder and longer—drawn to preserve the rounded edges visible in the original scans at 8pt. This specimen showcases the intended use of Elastra at small point sizes. Secret Messenger
coding, website, 2022
Written message is encrypted as it is saved relevant to the window width at the time it is written. Receiver will need to decode the message by resizing the window to the same width as when it was written by the sender. Any other window width will display the message as jumbled.
frozen-ocean-03404.herokuapp.com Spread from ant bear, 2024
The Egg in The Landscape
Publication, 11 × 14 in, 52 pages, 2023
Inspired by André Pieyre de Mandiargues’ short story, from which I also borrowed the title. He explores how a slight imperfection in a windowpane distorts reality into a surreal universe. In response, I photographed my surroundings through a marble, using it to see imaginary worlds which I then drew. Drawings are woven with extracts from the story hidden between the folds. Fall 2024 Oral Presentation Scripts
Riso-printed publication, 4 × 7 in, 126 pages, 2024
A compilation of oral presentation scripts delivered by second-year Graphic Design students in September 2024. Each script has been preserved in its original typeface and point size, with minimal editorial interventions limited to the use of Times New Roman at 14pt. Across 37 copies, the spines of these editions form an extract from Lydia Davis’s short story, “The Mouse.” The publication is housed in a book sleeve, cradling a token of the season: an autumn leaf, plucked from the very moment this book seeks to preserve. It Is Quite Nice Here
Publication, 150 × 200mm, 302 pages, 2022
In 2020, my grandparents‘ visit from China to our farm in Australia was prolonged from three months to two years. During this unexpected long stay, I had the opportunity to build a close bond with them. Closer to their time of return, I made It Is Quite Nice Here, gathering different memories and traces of their time on the farm with us.
Coral Typography Tool—Instruction sheet
Resin 3d print, 2021
Inspired by coral reefs I modelled these letters in zBrush and 3d printed them to make a physically arrangeable typography tool. This tool kit provides three variations per letter and has three base forms to play with. In addition, coral extensions of four lengths are also provided to allow for more composition possibilities. Each comes with 10 in the kit. Make It A Party Wherever You Go
Urban Intervention (Platform truck, cocktail table, rope, blu tac, ashtray, glass vase, flower, cloth hanger, instruction sheet), 2019
Make It A Party Wherever You Go is a response to a social issue about the lack of well-planned public space in Melbourne City. This project includes a self-made party table as an urban intervention, a printed publication, and a website. Birthday
Collagebook, 44 × 338mm, 40 pages, 2022
As I took many photos on the farm, I began experimenting with these images—manipulating them, cropping organic shapes and lines out of them and eventually reconstructed them to create new abstract images. This collagebook is a collection of my image visual practices at one stage.
Make It A Party Wherever You Go
Publication, 150mm × 230mm, 232 pages, 2019
This publication documents the journey from conceiving the idea of the 'party table' to building it, to implementing it in various locations across the city of Melbourne, and observing its impact on the environments it was inserted into and the people inherent to those spaces. Fall 2024 Oral Presentation Scripts
Riso-printed Publication, 4 × 7 in, 126 pages, 2024 Linoleum cutting and printing process. Fall 2024 Oral Presentation Scripts
Riso-printed publication, 4 × 7 in, 126 pages, 2024
A compilation of oral presentation scripts delivered by second-year Graphic Design students in September 2024. Each script has been preserved in its original typeface and point size, with minimal editorial interventions limited to the use of Times New Roman at 14pt. Across 37 copies, the spines of these editions form an extract from Lydia Davis’s short story, “The Mouse.” The publication is housed in a book sleeve, cradling a token of the season: an autumn leaf, plucked from the very moment this book seeks to preserve. Secret Messenger
coding, website, 2022
Written message is encrypted as it is saved relevant to the window width at the time it is written. Receiver will need to decode the message by resizing the window to the same width as when it was written by the sender. Any other window width will display the message as jumbled.
frozen-ocean-03404.herokuapp.com
It Is Quite Nice Here
Publication, 150 × 200mm, 302 pages, 2022
In 2020, my grandparents‘ visit from China to our farm in Australia was prolonged from three months to two years. During this unexpected long stay, I had the opportunity to build a close bond with them. Closer to their time of return, I made It Is Quite Nice Here, gathering different memories and traces of their time on the farm with us.
Fall 2024 Oral Presentation Scripts
Riso-printed publication, 4 × 7 in, 126 pages, 2024 Website Development for Studio Sangah Shin
Coding, website, 2021
Completed in collaboration with designer and artist Sangah Shin.
From Sunrise to Dusk
Photobook, 244 × 338mm, 44 pages, 2022
When I lived on a farm with my family during the pandemic, I became increasingly attuned to the nature around me, noticing details I had overlooked before. I picked up my camera and began capturing moments from sunrise to sundown. The traces of each season were always present—reflected in the shifting landscapes, plants, and animals. Looking back at these photos, I can vividly recall the memories behind each one. My Hand On Yours
Coding, website, 2021
If we can no longer be intimate in the physical world, can I place my hand on yours on the internet? I made My Hand On Yours during lockdown in response to the new social distancing rules. People are invited to upload images of their hand/s performing an activity in their private space to the website and place my virtual hand on top of theirs to create intimacy. online.myhandonyours.com Make It A Party Wherever You Go
Publication, 150mm × 230mm, 232 pages, 2019
This publication documents the journey from conceiving the idea of the 'party table' to building it, to implementing it in various locations across the city of Melbourne, and observing its impact on the environments it was inserted into and the people inherent to those spaces. From Sunrise to Dusk
Photobook, 244 × 338mm, 44 pages, 2022
When I lived on a farm with my family during the pandemic, I became increasingly attuned to the nature around me, noticing details I had overlooked before. I picked up my camera and began capturing moments from sunrise to sundown. The traces of each season were always present—reflected in the shifting landscapes, plants, and animals. Looking back at these photos, I can vividly recall the memories behind each one. Custom handout for Paper Sculpture #2, handmade with cotton paper pulp. Birthday
Collagebook, 44 × 338mm, 40 pages, 2022
As I took many photos on the farm, I began experimenting with these images—manipulating them, cropping organic shapes and lines out of them and eventually reconstructed them to create new abstract images. This collagebook is a collection of my image visual practices at one stage.
The Egg in The Landscape
Publication, 11 × 14 in, 52 pages, 2023
Inspired by André Pieyre de Mandiargues’ short story, from which I also borrowed the title. He explores how a slight imperfection in a windowpane distorts reality into a surreal universe. In response, I photographed my surroundings through a marble, using it to see imaginary worlds which I then drew. Drawings are woven with extracts from the story hidden between the folds. Photograph of a snail’s feeding path on paper tracked over two hours, manually traced with pencil. Making Things Public
Riso, 2019
Catalogue for MADA Graduate Show. Designed in collaboration with Melike Yucel.
Make It A Party Wherever You Go
Publication, 150mm × 230mm, 232 pages, 2019
This publication documents the journey from conceiving the idea of the 'party table' to building it, to implementing it in various locations across the city of Melbourne, and observing its impact on the environments it was inserted into and the people inherent to those spaces. The corrugated metal panels I wheatpasted my collage posters on have now been repurposed by my mum into a chicken shed. Paul Rand Lecture Poster Series
Animated posters, variable duration, 2025
The Paul Rand Lecture Poster Series is created for guest artists and designers visiting the Graphic Design department at the Yale School of Art as part of the Paul Rand Lecture Series. Each guest is envisioned as an inhabitant of an alternate miniature world—their work meticulously reproduced in miniature and photographed in situ within a mail cubby at school. If you look closely, you will find a continuous narrative woven into them.
Animated posters, variable duration, 2025
The Paul Rand Lecture Poster Series is created for guest artists and designers visiting the Graphic Design department at the Yale School of Art as part of the Paul Rand Lecture Series. Each guest is envisioned as an inhabitant of an alternate miniature world—their work meticulously reproduced in miniature and photographed in situ within a mail cubby at school. If you look closely, you will find a continuous narrative woven into them.
Installation in An oblique character... , thesis exhibition, 2025
33 Collage Posters, 47 × 66 in, 2022
A series of experimental collage posters using local materials and my own photographs of everyday items, tools, and animals on the farm where I lived with my family. I wheatpasted one up as I made new collages, and this was the beginning of an unexpected exhibition, where nature and time was creating alongside me, adding final touches to my artwork.
Publication, 150 × 200mm, 302 pages, 2022
In 2020, my grandparents‘ visit from China to our farm in Australia was prolonged from three months to two years. During this unexpected long stay, I had the opportunity to build a close bond with them. Closer to their time of return, I made It Is Quite Nice Here, gathering different memories and traces of their time on the farm with us.
Paper pulp, 2023
Installation in An oblique character... , thesis exhibition, 2025
Thesis publication, 6 × 8.5 in, 2025
Thesis publication consisting of fictional writings I constructed from fragments—objects, processes, and memories—extracted from selected projects during my MFA. Guided by a narrator who addresses the desire of the main protagonist—the reader, you—to read about the designer’s thesis, the narrative unfolds as characters like the mouse, the snail, and the woman enter, each offering their own stories and glimpses into the evolving thesis. The publication is bound by a central ‘portal,’ designed to be read in all four directions—a circular motion.
Coding, website, 2021
If we can no longer be intimate in the physical world, can I place my hand on yours on the internet? I made My Hand On Yours during lockdown in response to the new social distancing rules. People are invited to upload images of their hand/s performing an activity in their private space to the website and place my virtual hand on top of theirs to create intimacy. online.myhandonyours.com
Publication, 150mm × 230mm, 232 pages, 2019
Collagebook, 44 × 338mm, 40 pages, 2022
As I took many photos on the farm, I began experimenting with these images—manipulating them, cropping organic shapes and lines out of them and eventually reconstructed them to create new abstract images. This collagebook is a collection of my image visual practices at one stage.
Animated posters, variable duration, 2025
The Paul Rand Lecture Poster Series is created for guest artists and designers visiting the Graphic Design department at the Yale School of Art as part of the Paul Rand Lecture Series. Each guest is envisioned as an inhabitant of an alternate miniature world—their work meticulously reproduced in miniature and photographed in situ within a mail cubby at school. If you look closely, you will find a continuous narrative woven into them.
Thesis publication, 6 × 8.5 in, 2025
Thesis publication consisting of fictional writings I constructed from fragments—objects, processes, and memories—extracted from selected projects during my MFA. Guided by a narrator who addresses the desire of the main protagonist—the reader, you—to read about the designer’s thesis, the narrative unfolds as characters like the mouse, the snail, and the woman enter, each offering their own stories and glimpses into the evolving thesis. The publication is bound by a central ‘portal,’ designed to be read in all four directions—a circular motion.
A collaborative publication made with Tomáš Hlava, documenting—non-literally—a discourse we had by mapping the route we walked during our conversation through accordion folds. The book experiments with scale and perspective, treating the book as a miniature container that holds the vastness of shared thought, spatial memory, and relational time.
Acrylic, Pencil, Charcoal, Pastel, 2024
Thesis publication, 6 × 8.5 in, 2025
Thesis publication consisting of fictional writings I constructed from fragments—objects, processes, and memories—extracted from selected projects during my MFA. Guided by a narrator who addresses the desire of the main protagonist—the reader, you—to read about the designer’s thesis, the narrative unfolds as characters like the mouse, the snail, and the woman enter, each offering their own stories and glimpses into the evolving thesis. The publication is bound by a central ‘portal,’ designed to be read in all four directions—a circular motion.
Publication, 11.25 × 16.5 in, 2024
A type specimen for a typeface designed specifically for a minuscule anthology titled "ant bear." The concept explores miniaturisation—how, when human-scale objects are shrunk for dollhouses or miniature settings, fine details are often lost, with corners merging and forms becoming indistinct blobs.
Publication, 11.25 × 16.5 in, 2024
A type specimen for a typeface designed specifically for a minuscule anthology titled "ant bear." The concept explores miniaturisation—how, when human-scale objects are shrunk for dollhouses or miniature settings, fine details are often lost, with corners merging and forms becoming indistinct blobs.
Animated posters, variable duration, 2025
The Paul Rand Lecture Poster Series is created for guest artists and designers visiting the Graphic Design department at the Yale School of Art as part of the Paul Rand Lecture Series. Each guest is envisioned as an inhabitant of an alternate miniature world—their work meticulously reproduced in miniature and photographed in situ within a mail cubby at school. If you look closely, you will find a continuous narrative woven into them.
Publication, 11.25 × 16.5 in, 2024
Photobook, 244 × 338mm, 44 pages, 2022
When I lived on a farm with my family during the pandemic, I became increasingly attuned to the nature around me, noticing details I had overlooked before. I picked up my camera and began capturing moments from sunrise to sundown. The traces of each season were always present—reflected in the shifting landscapes, plants, and animals. Looking back at these photos, I can vividly recall the memories behind each one.
Animated posters, variable duration, 2025
The Paul Rand Lecture Poster Series is created for guest artists and designers visiting the Graphic Design department at the Yale School of Art as part of the Paul Rand Lecture Series. Each guest is envisioned as an inhabitant of an alternate miniature world—their work meticulously reproduced in miniature and photographed in situ within a mail cubby at school. If you look closely, you will find a continuous narrative woven into them.
In 'Letterform Design', a semester-long class led by Nina Stoessinger, I revived W. A. Dwiggins' Electra. My revival features accentuated serifs—bolder and longer—drawn to preserve the rounded edges visible in the original scans at 8pt. This specimen showcases the intended use of Elastra at small point sizes.
Publication, 11.25 × 16.5 in, 2024
A type specimen for a typeface designed specifically for a minuscule anthology titled "ant bear." The concept explores miniaturisation—how, when human-scale objects are shrunk for dollhouses or miniature settings, fine details are often lost, with corners merging and forms becoming indistinct blobs.
Copy paper, 1.75 × 1.75 × 2.5 in, 2025
Resin 3d print, 2021
Inspired by coral reefs I modelled these letters in zBrush and 3d printed them to make a physically arrangeable typography tool. This tool kit provides three variations per letter and has three base forms to play with. In addition, coral extensions of four lengths are also provided to allow for more composition possibilities. Each comes with 10 in the kit.
Copy paper, 1.75 × 1.75 × 2.5 in, 2025
linoleum, 2024
Photobook, 244 × 338mm, 44 pages, 2022
When I lived on a farm with my family during the pandemic, I became increasingly attuned to the nature around me, noticing details I had overlooked before. I picked up my camera and began capturing moments from sunrise to sundown. The traces of each season were always present—reflected in the shifting landscapes, plants, and animals. Looking back at these photos, I can vividly recall the memories behind each one.
Collagebook, 44 × 338mm, 40 pages, 2022
As I took many photos on the farm, I began experimenting with these images—manipulating them, cropping organic shapes and lines out of them and eventually reconstructed them to create new abstract images. This collagebook is a collection of my image visual practices at one stage.
33 Collage Posters, 47 × 66 in, 2022
33 Collage Posters, 47 × 66 in, 2022
A series of experimental collage posters using local materials and my own photographs of everyday items, tools, and animals on the farm where I lived with my family. I wheatpasted one up as I made new collages, and this was the beginning of an unexpected exhibition, where nature and time was creating alongside me, adding final touches to my artwork.
A collaborative publication made with Tomáš Hlava, documenting—non-literally—a discourse we had by mapping the route we walked during our conversation through accordion folds. The book experiments with scale and perspective, treating the book as a miniature container that holds the vastness of shared thought, spatial memory, and relational time.
Publication, 11 × 14 in, 52 pages, 2023
Inspired by André Pieyre de Mandiargues’ short story, from which I also borrowed the title. He explores how a slight imperfection in a windowpane distorts reality into a surreal universe. In response, I photographed my surroundings through a marble, using it to see imaginary worlds which I then drew. Drawings are woven with extracts from the story hidden between the folds.
Riso-printed publication, 4 × 7 in, 126 pages, 2024
A compilation of oral presentation scripts delivered by second-year Graphic Design students in September 2024. Each script has been preserved in its original typeface and point size, with minimal editorial interventions limited to the use of Times New Roman at 14pt. Across 37 copies, the spines of these editions form an extract from Lydia Davis’s short story, “The Mouse.” The publication is housed in a book sleeve, cradling a token of the season: an autumn leaf, plucked from the very moment this book seeks to preserve.
Riso-printed Publication, 4 × 7 in, 126 pages, 2024
Photobook, 244 × 338mm, 44 pages, 2022
When I lived on a farm with my family during the pandemic, I became increasingly attuned to the nature around me, noticing details I had overlooked before. I picked up my camera and began capturing moments from sunrise to sundown. The traces of each season were always present—reflected in the shifting landscapes, plants, and animals. Looking back at these photos, I can vividly recall the memories behind each one.
Photobook, 244 × 338mm, 44 pages, 2022
Publication, 8.5 × 11 in, 36 pages, 2023
An unbound collage book composed of graphic elements extracted from snail-eaten mail, featuring visual elements created through making abstract-shaped paper, tracing the feeding paths of snails, and embossing the remnants of eaten envelopes.
colored pencils, 2024
Coding, website, 2021
If we can no longer be intimate in the physical world, can I place my hand on yours on the internet? I made My Hand On Yours during lockdown in response to the new social distancing rules. People are invited to upload images of their hand/s performing an activity in their private space to the website and place my virtual hand on top of theirs to create intimacy. online.myhandonyours.com
linoleum, 2024
Resin 3d print, 2021
Inspired by coral reefs I modelled these letters in zBrush and 3d printed them to make a physically arrangeable typography tool. This tool kit provides three variations per letter and has three base forms to play with. In addition, coral extensions of four lengths are also provided to allow for more composition possibilities. Each comes with 10 in the kit.
Publication, 11.25 × 16.5 in, 2024
A type specimen for a typeface designed specifically for a minuscule anthology titled "ant bear." The concept explores miniaturisation—how, when human-scale objects are shrunk for dollhouses or miniature settings, fine details are often lost, with corners merging and forms becoming indistinct blobs.
Publication, 11.25 × 16.5 in, 2024
A type specimen for a typeface designed specifically for a minuscule anthology titled "ant bear." The concept explores miniaturisation—how, when human-scale objects are shrunk for dollhouses or miniature settings, fine details are often lost, with corners merging and forms becoming indistinct blobs.
Cotton paper pulp, 2023
Paper Sculpture #2 takes the opposite approach to #1—rather than recreating the remnants of snail-devoured paper, I traced the feeding paths of seven snails over two hours and reconstructed each trail as a separate paper structure, in effect, re-materialising what had been consumed.
Publication, 11 × 14 in, 52 pages, 2023
Collagebook, 44 × 338mm, 40 pages, 2022
As I took many photos on the farm, I began experimenting with these images—manipulating them, cropping organic shapes and lines out of them and eventually reconstructed them to create new abstract images. This collagebook is a collection of my image visual practices at one stage.
Acrylic, Pencil, Charcoal, Pastel, 2024
Cotton paper pulp, 2023
Cotton paper pulp, 2023
Inspired by the distressed patterns and textures left behind on snail-devoured paper, I began to wonder—what if paper were intentionally made to be distressed from the start? In this piece, the scale is dramatically enlarged from its original letter-sized form, so when encountered, the human body assumes the size of the snail.
Type design, 2024
An exploration of how type can mimic the way language erodes over time. This is a variable font defined by axes of time, activated by letters that were received “this year”, “last year,” “three years ago” and “six years ago.” With each passing year, the text becomes more degraded, until eventually, no message remains.
Riso-printed publication, 4 × 7 in, 126 pages, 2024
A compilation of oral presentation scripts delivered by second-year Graphic Design students in September 2024. Each script has been preserved in its original typeface and point size, with minimal editorial interventions limited to the use of Times New Roman at 14pt. Across 37 copies, the spines of these editions form an extract from Lydia Davis’s short story, “The Mouse.” The publication is housed in a book sleeve, cradling a token of the season: an autumn leaf, plucked from the very moment this book seeks to preserve.
Publication, 150mm × 230mm, 232 pages, 2019
This publication documents the journey from conceiving the idea of the 'party table' to building it, to implementing it in various locations across the city of Melbourne, and observing its impact on the environments it was inserted into and the people inherent to those spaces.
33 Collage Posters, 47 × 66 in, 2022
A series of experimental collage posters using local materials and my own photographs of everyday items, tools, and animals on the farm where I lived with my family. I wheatpasted one up as I made new collages, and this was the beginning of an unexpected exhibition, where nature and time was creating alongside me, adding final touches to my artwork.
Urban Intervention (Platform truck, cocktail table, rope, blu tac, ashtray, glass vase, flower, cloth hanger, instruction sheet), 2019
Make It A Party Wherever You Go is a response to a social issue about the lack of well-planned public space in Melbourne City. This project includes a self-made party table as an urban intervention, a printed publication, and a website.
Publication, 2.44 x 3.35 in, 440 pages, 2024
An anthology that explores the idea of miniature as an alternate universe, interweaving essays on shrunken perspectives and what they signify, with a selection of fairytales featuring miniature figures and settings. In this book, fairytales are treated right-side up, suggesting their truths, while theoretical essays are upside down, requiring flipping and turning to aid reading.
Riso, 2019
Catalogue for MADA Graduate Show. Designed in collaboration with Melike Yucel.
190 × 270mm, 132 pages, 2023
190 × 270mm, 132 pages, 2023
Publication, 8.5 × 11 in, 36 pages, 2023
An unbound collage book composed of graphic elements extracted from snail-eaten mail, featuring visual elements created through making abstract-shaped paper, tracing the feeding paths of snails, and embossing the remnants of eaten envelopes.
Publication, 150mm × 230mm, 232 pages, 2019
This publication documents the journey from conceiving the idea of the 'party table' to building it, to implementing it in various locations across the city of Melbourne, and observing its impact on the environments it was inserted into and the people inherent to those spaces.
Publication, 150mm × 230mm, 232 pages, 2019
This publication documents the journey from conceiving the idea of the 'party table' to building it, to implementing it in various locations across the city of Melbourne, and observing its impact on the environments it was inserted into and the people inherent to those spaces.
Riso-printed publication, 4 × 7 in, 126 pages, 2024
A compilation of oral presentation scripts delivered by second-year Graphic Design students in September 2024. Each script has been preserved in its original typeface and point size, with minimal editorial interventions limited to the use of Times New Roman at 14pt. Across 37 copies, the spines of these editions form an extract from Lydia Davis’s short story, “The Mouse.” The publication is housed in a book sleeve, cradling a token of the season: an autumn leaf, plucked from the very moment this book seeks to preserve.
Coding, website, 2021
If we can no longer be intimate in the physical world, can I place my hand on yours on the internet? I made My Hand On Yours during lockdown in response to the new social distancing rules. People are invited to upload images of their hand/s performing an activity in their private space to the website and place my virtual hand on top of theirs to create intimacy. online.myhandonyours.com
33 Collage Posters, 47 × 66 in, 2022
A series of experimental collage posters using local materials and my own photographs of everyday items, tools, and animals on the farm where I lived with my family. I wheatpasted one up as I made new collages, and this was the beginning of an unexpected exhibition, where nature and time was creating alongside me, adding final touches to my artwork.
Publication, 11 × 14 in, 52 pages, 2023
Inspired by André Pieyre de Mandiargues’ short story, from which I also borrowed the title. He explores how a slight imperfection in a windowpane distorts reality into a surreal universe. In response, I photographed my surroundings through a marble, using it to see imaginary worlds which I then drew. Drawings are woven with extracts from the story hidden between the folds.
Publication, 11 × 14 in, 52 pages, 2023
Inspired by André Pieyre de Mandiargues’ short story, from which I also borrowed the title. He explores how a slight imperfection in a windowpane distorts reality into a surreal universe. In response, I photographed my surroundings through a marble, using it to see imaginary worlds which I then drew. Drawings are woven with extracts from the story hidden between the folds.
Publication, 8.5 × 11 in, 36 pages, 2023
An unbound collage book composed of graphic elements extracted from snail-eaten mail, featuring visual elements created through making abstract-shaped paper, tracing the feeding paths of snails, and embossing the remnants of eaten envelopes.
Collagebook, 44 × 338mm, 40 pages, 2022
As I took many photos on the farm, I began experimenting with these images—manipulating them, cropping organic shapes and lines out of them and eventually reconstructed them to create new abstract images. This collagebook is a collection of my image visual practices at one stage.
Photobook, 244 × 338mm, 44 pages, 2022
When I lived on a farm with my family during the pandemic, I became increasingly attuned to the nature around me, noticing details I had overlooked before. I picked up my camera and began capturing moments from sunrise to sundown. The traces of each season were always present—reflected in the shifting landscapes, plants, and animals. Looking back at these photos, I can vividly recall the memories behind each one.
Publication, 150mm × 230mm, 232 pages, 2019
This publication documents the journey from conceiving the idea of the 'party table' to building it, to implementing it in various locations across the city of Melbourne, and observing its impact on the environments it was inserted into and the people inherent to those spaces.
Publication, 11 × 14 in, 52 pages, 2023
Inspired by André Pieyre de Mandiargues’ short story, from which I also borrowed the title. He explores how a slight imperfection in a windowpane distorts reality into a surreal universe. In response, I photographed my surroundings through a marble, using it to see imaginary worlds which I then drew. Drawings are woven with extracts from the story hidden between the folds.
Publication, 150 × 200mm, 302 pages, 2022
Publication, 8.5 × 11 in, 36 pages, 2023
An unbound collage book composed of graphic elements extracted from snail-eaten mail, featuring visual elements created through making abstract-shaped paper, tracing the feeding paths of snails, and embossing the remnants of eaten envelopes.
Type Specimen, 5.5 × 8.5 in, 2025
In 'Letterform Design', a semester-long class led by Nina Stoessinger, I revived W. A. Dwiggins' Electra. My revival features accentuated serifs—bolder and longer—drawn to preserve the rounded edges visible in the original scans at 8pt. This specimen showcases the intended use of Elastra at small point sizes.
coding, website, 2022
Written message is encrypted as it is saved relevant to the window width at the time it is written. Receiver will need to decode the message by resizing the window to the same width as when it was written by the sender. Any other window width will display the message as jumbled.
frozen-ocean-03404.herokuapp.com
Publication, 11 × 14 in, 52 pages, 2023
Inspired by André Pieyre de Mandiargues’ short story, from which I also borrowed the title. He explores how a slight imperfection in a windowpane distorts reality into a surreal universe. In response, I photographed my surroundings through a marble, using it to see imaginary worlds which I then drew. Drawings are woven with extracts from the story hidden between the folds.
Riso-printed publication, 4 × 7 in, 126 pages, 2024
A compilation of oral presentation scripts delivered by second-year Graphic Design students in September 2024. Each script has been preserved in its original typeface and point size, with minimal editorial interventions limited to the use of Times New Roman at 14pt. Across 37 copies, the spines of these editions form an extract from Lydia Davis’s short story, “The Mouse.” The publication is housed in a book sleeve, cradling a token of the season: an autumn leaf, plucked from the very moment this book seeks to preserve.
Publication, 150 × 200mm, 302 pages, 2022
In 2020, my grandparents‘ visit from China to our farm in Australia was prolonged from three months to two years. During this unexpected long stay, I had the opportunity to build a close bond with them. Closer to their time of return, I made It Is Quite Nice Here, gathering different memories and traces of their time on the farm with us.
Resin 3d print, 2021
Inspired by coral reefs I modelled these letters in zBrush and 3d printed them to make a physically arrangeable typography tool. This tool kit provides three variations per letter and has three base forms to play with. In addition, coral extensions of four lengths are also provided to allow for more composition possibilities. Each comes with 10 in the kit.
Urban Intervention (Platform truck, cocktail table, rope, blu tac, ashtray, glass vase, flower, cloth hanger, instruction sheet), 2019
Make It A Party Wherever You Go is a response to a social issue about the lack of well-planned public space in Melbourne City. This project includes a self-made party table as an urban intervention, a printed publication, and a website.
Collagebook, 44 × 338mm, 40 pages, 2022
As I took many photos on the farm, I began experimenting with these images—manipulating them, cropping organic shapes and lines out of them and eventually reconstructed them to create new abstract images. This collagebook is a collection of my image visual practices at one stage.
Publication, 150mm × 230mm, 232 pages, 2019
This publication documents the journey from conceiving the idea of the 'party table' to building it, to implementing it in various locations across the city of Melbourne, and observing its impact on the environments it was inserted into and the people inherent to those spaces.
Riso-printed Publication, 4 × 7 in, 126 pages, 2024
Riso-printed publication, 4 × 7 in, 126 pages, 2024
A compilation of oral presentation scripts delivered by second-year Graphic Design students in September 2024. Each script has been preserved in its original typeface and point size, with minimal editorial interventions limited to the use of Times New Roman at 14pt. Across 37 copies, the spines of these editions form an extract from Lydia Davis’s short story, “The Mouse.” The publication is housed in a book sleeve, cradling a token of the season: an autumn leaf, plucked from the very moment this book seeks to preserve.
coding, website, 2022
Written message is encrypted as it is saved relevant to the window width at the time it is written. Receiver will need to decode the message by resizing the window to the same width as when it was written by the sender. Any other window width will display the message as jumbled.
frozen-ocean-03404.herokuapp.com
Publication, 150 × 200mm, 302 pages, 2022
In 2020, my grandparents‘ visit from China to our farm in Australia was prolonged from three months to two years. During this unexpected long stay, I had the opportunity to build a close bond with them. Closer to their time of return, I made It Is Quite Nice Here, gathering different memories and traces of their time on the farm with us.
Riso-printed publication, 4 × 7 in, 126 pages, 2024
Coding, website, 2021
Completed in collaboration with designer and artist Sangah Shin.
Photobook, 244 × 338mm, 44 pages, 2022
When I lived on a farm with my family during the pandemic, I became increasingly attuned to the nature around me, noticing details I had overlooked before. I picked up my camera and began capturing moments from sunrise to sundown. The traces of each season were always present—reflected in the shifting landscapes, plants, and animals. Looking back at these photos, I can vividly recall the memories behind each one.
Coding, website, 2021
If we can no longer be intimate in the physical world, can I place my hand on yours on the internet? I made My Hand On Yours during lockdown in response to the new social distancing rules. People are invited to upload images of their hand/s performing an activity in their private space to the website and place my virtual hand on top of theirs to create intimacy. online.myhandonyours.com
Publication, 150mm × 230mm, 232 pages, 2019
This publication documents the journey from conceiving the idea of the 'party table' to building it, to implementing it in various locations across the city of Melbourne, and observing its impact on the environments it was inserted into and the people inherent to those spaces.
Photobook, 244 × 338mm, 44 pages, 2022
When I lived on a farm with my family during the pandemic, I became increasingly attuned to the nature around me, noticing details I had overlooked before. I picked up my camera and began capturing moments from sunrise to sundown. The traces of each season were always present—reflected in the shifting landscapes, plants, and animals. Looking back at these photos, I can vividly recall the memories behind each one.
Collagebook, 44 × 338mm, 40 pages, 2022
As I took many photos on the farm, I began experimenting with these images—manipulating them, cropping organic shapes and lines out of them and eventually reconstructed them to create new abstract images. This collagebook is a collection of my image visual practices at one stage.
Publication, 11 × 14 in, 52 pages, 2023
Inspired by André Pieyre de Mandiargues’ short story, from which I also borrowed the title. He explores how a slight imperfection in a windowpane distorts reality into a surreal universe. In response, I photographed my surroundings through a marble, using it to see imaginary worlds which I then drew. Drawings are woven with extracts from the story hidden between the folds.
Riso, 2019
Catalogue for MADA Graduate Show. Designed in collaboration with Melike Yucel.
Publication, 150mm × 230mm, 232 pages, 2019
This publication documents the journey from conceiving the idea of the 'party table' to building it, to implementing it in various locations across the city of Melbourne, and observing its impact on the environments it was inserted into and the people inherent to those spaces.
Animated posters, variable duration, 2025
The Paul Rand Lecture Poster Series is created for guest artists and designers visiting the Graphic Design department at the Yale School of Art as part of the Paul Rand Lecture Series. Each guest is envisioned as an inhabitant of an alternate miniature world—their work meticulously reproduced in miniature and photographed in situ within a mail cubby at school. If you look closely, you will find a continuous narrative woven into them.