The Pixi-Perfect Ceremony focuses on digital perfectionism among young women in virtual environments. By combining symbolic graphics, a ritual guide and interactive objects, the project visualizes how “perfect” female images are constructed under social media culture. It emphasizes that imperfection can also be a powerful force for creativity and transformation. The project is informed by glitch feminism, diffraction theory, and the shifting role of rituals in contemporary digital culture today.

The Pixi-Perfect Ceremony focuses on digital perfectionism among young women in virtual environments. By combining symbolic graphics, a ritual guide and interactive objects, the project visualizes how “perfect” female images are constructed under social media culture. It emphasizes that imperfection can also be a powerful force for creativity and transformation. The project is informed by glitch feminism, diffraction theory, and the shifting role of rituals in contemporary digital culture today.

Frogs are an important indicator of environmental monitoring. When the number of frogs around the world begins to plummet dramatically, humans should start paying serious attention to the safety of the natural environment. This project, from the perspective of a frog scientist, uses publications and images to critique human intervention in natural biology by investigating the incidents of frog species extinction caused by the chytrid fungus. It reveals that the real culprits behind the spread of the chytrid fungal infection are humans themselves. This project aims to make humans reflect on their reckless interventions in natural biology and serves as a warning to always respect and protect the natural environment together.

This project explores the relationship between cosmic energy and human life by introducing Image-Numerology therapy and predicting its future trends. The design of the educational publication and the clinic scene simulation installation investigates how numerical symbols act as new healing totems of energy transformation processes.

This is a set of visual and typographic works I created last year for the Year of the Snake 2025. Flyte is a little snake with wings — too special, and therefore rejected by the other snakes. Once, Flyte even tried to cut off her wings with scissors, just to become ordinary. But one day, she slowly realized that her wings were her own light and uniqueness, and she learned to embrace herself as she was. The piece is called “Knock Knock Flyte”. I also designed a visual piece called the “Knock Knock Door” , symbolizing how this little snake gently knocks on everyone’s door in the new year — bringing courage, confidence, and the glow that is her own.

This project reflects on how we are conditioned to notice only ordered, named, and categorized systems, like the constantly running structures within a computer.
 In contrast, temporary files, discarded data, and digital waste become metaphors for fleeting emotions and unnamed perceptions that arise in everyday life. Through computer visual metaphors, rapid eye movement, game environments, and distorted code, the project narrates four personal scenarios shaped by inexpressible feelings. 
Ultimately, these perceptions are dragged into the recycle bin and deleted, questioning what we choose to ignore in a fast, mechanized society.

With dreams and surreality as its theme, this project envisions a supernatural world that exists at the threshold between hyperspace and the stream of consciousness. A brainwave website called COHY-UMSPACE.011 was created as a portal to this world — a realm born from the brainwaves of our daily daydreams within the visual cortex, connected to broader dimensions such as hyperspace. Since the neural networks of the brain are linked to the body’s corresponding organs, each organ gives rise to its own consciousness-creature, wandering and drifting through this ethereal world.

Vessfabric is an imagined universe formed from “vessel” and “fabric,” where bodies and structures continuously weave together. Within a boundless multidimensional space, invisible strings move, connect, and reshape living forms without fixed boundaries. Images and material containers grow, fracture, and transform as energy shifts. Guided by an unseen gravitational force, this world constantly adjusts itself, maintaining a fragile balance where desire, movement, and harmony coexist in an ever-changing state.

Inspired by Emily Ogden’s essay On Not Knowing, especially the section “how to catch a minnow,” I was struck by her metaphor of chasing the unknown through the image of trying to catch tiny fish. The moment when the minnow slips away just as you reach for it mirrors the way we pursue knowledge we can never fully grasp.  I chose the comma “,” as the primary typographic element to represent this fleeting pause — that abrupt, suspended instant when the fish escapes, leaving the sentence unable to arrive at a full stop. In the visual composition, I also incorporated fishing nets and hooks as additional symbolic elements to echo the act of reaching, searching, and missing.

The concept “hea”, proposed by OIL CLUB for this event, originates from Hong Kong Cantonese slang that became popular in the late 1990s. It is often believed to derive from the English phrase “hang around,” referring to wandering, idling, or spending time aimlessly. The term conveys a relaxed, carefree attitude — embracing moments of laziness, drifting, and unstructured time as part of contemporary nightlife culture.