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.
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. Typography posters, 2022. Hand made eroded paper.
Paper pulp, 2023 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.
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.
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. Make It A Party Wherever You Go
Publication, 150mm × 230mm, 232 pages, 2019 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. Drawing component for Seb McLaclan’s poster. 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. Miniature props made for Min Oh’s Paul Rand Lecture Poster, recreating a fragment of her exhibition and performance Conversation Dance. 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.
Prop (eroded book) for Seb McLaclan’s poster 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.
Cheese postcard made in collaboration with June Lihua Yu, 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 mini(ature) ant bear Type Specimen
Publication, 11.25 × 16.5 in, 2024
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.
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
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. 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.
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. 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. Recreating Julia Born’s book designs in miniature, as props for the Paul Rand Lecture Poster Series. Photoshoot for Julia Born’s Paul Rand Lecture Poster in our school mail cubby. 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.
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.
Poster for Seb McLauchlan's talk
Acrylic, Pencil, Charcoal, Pastel, 2024
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.
Process of making a large-scale simulacra of snail-eaten mail using cotton paper pulp. Typography Posters, 2021 Interview Magazine, 2025
An issue I worked on as Graphic Designer at Interview Magazine, working closely with Art Director Jack Vhay.
Letterpress poster made during Typographics Printing Program led by Dafi Khune.
linoleum, 2024
Poster for Distinguished Artist Colloquim with holes, 2024. Snails eating paper, 2023 Mouse Mail
Copy paper, 1.75 × 1.75 × 2.5 in, 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. Book designed to be opened from the back like mail. 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
Mouse Mail
Copy paper, 1.75 × 1.75 × 2.5 in, 2025
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.
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. Postcards made in collaboration with June Lihua Yu, 2024. Miscellaneous Box, 2024
Spread from ant bear, 2024
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 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.
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.
Series of Writing Obstruction Tools I coded as webpages. 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. 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. Paper Sculpture #1
Cotton paper pulp, 2023
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.
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. 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.
The Egg in The Landscape
Publication, 11 × 14 in, 52 pages, 2023
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. Looking through a marble #2 Poster for Seb McLauchlan's talk
Acrylic, Pencil, Charcoal, Pastel, 2024 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.
Coral Typography Tool
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.
First Breath Second Sight
Publication, 8 × 10 in, 2025
The design of the Yale Photo MFA ’25 Thesis Photobook—First Breath, Second Sight—evokes the softness and lightness of breath, offering a subtle invitation to uncover what lies beneath, leading the reader towards the experience of "sight." Project and production supervised by Lesley A. Martin.
Spreads from It Is Quite Nice Here, 2021. Handcut linoleum—letterpressing detail from Typographic Printing Program with Dafi Kühne in 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
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. Detail from It Is Quite Nice Here, 2021. 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. 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. Looking through a marble #3 The mailbox at home in Australia, where I first began collecting snail-eaten mail. Snail mail collection from 2020.
Paprika!
Newspaper, 23 × 25 in
Paprika! Magazine is the often-monthly broadsheet published by the students of the Yale School of Architecture and Yale School of Art. This is Volume 9, Issue 01: Mimesis, that I designed.
Making Things Public
Riso, 2019
Catalogue for MADA Graduate Show. Designed in collaboration with Melike Yucel. 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. Type Specimen
190 × 270mm, 132 pages, 2023
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. 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. Back cover of It Is Quite Nice Here, 2021. 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. First Breath Second Sight
Publication, 8 × 10 in, 2025
The design of the Yale Photo MFA ’25 Thesis Photobook—First Breath, Second Sight—evokes the softness and lightness of breath, offering a subtle invitation to uncover what lies beneath, leading the reader towards the experience of "sight." Project and production supervised by Lesley A. Martin. Close up of my letterpress poster made during Typographics Printing Program led by Dafi Khune in 2024. Printed with handcut linoleum. 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. Book documenting ‘snail mail’—snail-eaten mail that I have collected from my mailbox. 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
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. 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. 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. 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. 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. 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.
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. Mixing metalic ink for letterpressing—detail from Typographic Printing Program with Dafi Kühne in 2024. 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 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. Linoleum cutting and printing process—detail from Typographic Printing Program with Dafi Kühne in 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 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.
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. 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. Custom handout for Paper Sculpture #2, handmade with cotton paper pulp. 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. 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
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 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 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.
Making Things Public
Riso, 2019
Catalogue for MADA Graduate Show. Designed in collaboration with Melike Yucel.
Photograph of a snail’s feeding path on paper tracked over two hours, manually traced with pencil. 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. 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. Website Development for Studio Sangah Shin
Coding, website, 2021
Completed in collaboration with designer and artist Sangah Shin.
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. The corrugated metal panels I wheatpasted my collage posters on have now been repurposed by my mum into a chicken shed. It Is Quite Nice Here
Publication, 150 × 200mm, 302 pages, 2022
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. 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.
Miscellanea (Mouse hole)
Installation in An oblique character... , thesis exhibition, 2025
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.
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.
Paper pulp, 2023
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.
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, 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.
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.
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.
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
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.
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, 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.
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.
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, 11.25 × 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.
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.
Acrylic, Pencil, Charcoal, Pastel, 2024
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.
An issue I worked on as Graphic Designer at Interview Magazine, working closely with Art Director Jack Vhay.
linoleum, 2024
Copy paper, 1.75 × 1.75 × 2.5 in, 2025
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
Copy paper, 1.75 × 1.75 × 2.5 in, 2025
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.
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.
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
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.
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.
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.
Cotton paper pulp, 2023
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.
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.
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
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.
Acrylic, Pencil, Charcoal, Pastel, 2024
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.
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.
Publication, 8 × 10 in, 2025
The design of the Yale Photo MFA ’25 Thesis Photobook—First Breath, Second Sight—evokes the softness and lightness of breath, offering a subtle invitation to uncover what lies beneath, leading the reader towards the experience of "sight." Project and production supervised by Lesley A. Martin.
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
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.
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.
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.
Newspaper, 23 × 25 in
Paprika! Magazine is the often-monthly broadsheet published by the students of the Yale School of Architecture and Yale School of Art. This is Volume 9, Issue 01: Mimesis, that I designed.
Riso, 2019
Catalogue for MADA Graduate Show. Designed in collaboration with Melike Yucel.
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.
190 × 270mm, 132 pages, 2023
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.
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, 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, 8 × 10 in, 2025
The design of the Yale Photo MFA ’25 Thesis Photobook—First Breath, Second Sight—evokes the softness and lightness of breath, offering a subtle invitation to uncover what lies beneath, leading the reader towards the experience of "sight." Project and production supervised by Lesley A. Martin.
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.
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
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.
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, 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, 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.
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.
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.
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, 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.
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.
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.
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, 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.
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
Riso-printed publication, 4 × 7 in, 126 pages, 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
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, 2019
Catalogue for MADA Graduate Show. Designed in collaboration with Melike Yucel.
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.
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.
Coding, website, 2021
Completed in collaboration with designer and artist Sangah Shin.
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, 150 × 200mm, 302 pages, 2022
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.
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