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.
Mouse Mail
Copy paper, 1.75 × 1.75 × 2.5 in, 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 Business card, 2025 Poster for Seb McLauchlan's talk
Acrylic, Pencil, Charcoal, Pastel, 2024 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.
Mouse Mail
Copy paper, 1.75 × 1.75 × 2.5 in, 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. Drawing component for Seb McLaclan’s poster. 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
Prop (eroded book) for Seb McLaclan’s poster Make It A Party Wherever You Go
Publication, 150mm × 230mm, 232 pages, 2019 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. Miniature props made for Min Oh’s Paul Rand Lecture Poster, recreating a fragment of her exhibition and performance Conversation Dance. 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. 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.
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.
Looking through a marble #1 Process of making a large-scale simulacra of snail-eaten mail using cotton paper pulp. Typography Posters, 2021 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
Business card, 2025 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. 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. Fall 2024 Oral Presentation Scripts
Riso-printed Publication, 4 × 7 in, 126 pages, 2024
Photoshoot for Julia Born’s Paul Rand Lecture Poster in our school mail cubby. 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.
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. 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.
Letterpress poster made during Typographics Printing Program led by Dafi Khune.
linoleum, 2024
Mouse Mail, 2025 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.
News from New Haven
colored pencils, 2024
Poster for Seb McLauchlan's talk
Acrylic, Pencil, Charcoal, Pastel, 2024 Reading and typing performance using custom inDesign script, 2023 Snails eating paper, 2023 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.
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 Looking through a marble #2 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. 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. Snail mail collection from 2020 Poste cards made in collaboration with June Lihua Yu, 2024. 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.
Looking through a marble #3
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. 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. 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. 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. 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.
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
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.
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
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. Making Things Public
Riso, 2019
Catalogue for MADA Graduate Show. Designed in collaboration with Melike Yucel. 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 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. Series of Writing Obstruction Tools I coded as webpages. 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.
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. Making Things Public
Riso, 2019
Catalogue for MADA Graduate Show. Designed in collaboration with Melike Yucel. 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 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. 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. It Is Quite Nice Here
Publication, 150 × 200mm, 302 pages, 2022
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. Spreads from It Is Quite Nice Here, 2021. 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. Close up of my letterpress poster made during Typographics Printing Program led by Dafi Khune.
linoleum, 2024 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. 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.
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. Type Specimen
190 × 270mm, 132 pages, 2023
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 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. Custom handout for Paper Sculpture #2, handmade with cotton paper pulp. 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
The mailbox at home in Australia, where I first began collecting snail-eaten mail. Fall 2024 Oral Presentation Scripts
Riso-printed Publication, 4 × 7 in, 126 pages, 2024 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
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. 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. 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. 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. 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. 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.
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. Photograph of a snail’s feeding path on paper tracked over two hours, manually traced with pencil. 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.
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.
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.
Website Development for Studio Sangah Shin
Coding, website, 2021
Completed in collaboration with designer and artist Sangah Shin.
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 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. Linoleum cutting and printing process. 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.
Making Things Public
Riso, 2019
Catalogue for MADA Graduate Show. Designed in collaboration with Melike Yucel.
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.
Copy paper, 1.75 × 1.75 × 2.5 in, 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
Acrylic, Pencil, Charcoal, Pastel, 2024
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.
Copy paper, 1.75 × 1.75 × 2.5 in, 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.
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
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.
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.
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
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
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.
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.
Riso-printed Publication, 4 × 7 in, 126 pages, 2024
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.
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.
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.
linoleum, 2024
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.
colored pencils, 2024
Acrylic, Pencil, Charcoal, Pastel, 2024
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.
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
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 × 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.
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.
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.
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.
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, 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 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.
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.
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, 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.
Riso, 2019
Catalogue for MADA Graduate Show. Designed in collaboration with Melike Yucel.
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, 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.
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.
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.
Riso, 2019
Catalogue for MADA Graduate Show. Designed in collaboration with Melike Yucel.
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, 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.
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, 150 × 200mm, 302 pages, 2022
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.
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.
linoleum, 2024
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.
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.
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.
190 × 270mm, 132 pages, 2023
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
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
Riso-printed Publication, 4 × 7 in, 126 pages, 2024
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.
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.
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.
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.
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.
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, 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.
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.
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.
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.
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
Completed in collaboration with designer and artist Sangah Shin.
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
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.
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.
Riso, 2019
Catalogue for MADA Graduate Show. Designed in collaboration with Melike Yucel.