Selected - Portfolio
2026 - Oil on Canvas
200 x 200cm
TSS3
Oil on canvas. Made from the canvas that once covered my studio floor, the work carries traces of movement, time, and the space where other works were made. Through later layers of painting, these accidental marks become part of a new surface, where past process and present gesture quietly overlap.
2026 - Oil on Canvas
200 x 200cm
TSS2
Oil on canvas. Made from the canvas that once covered my studio floor during Term 2, the work carries traces of movement, time, and the space where other works were made. Through later layers of painting, these accidental marks become part of a new surface, where past process and present gesture quietly overlap.
2026 - Oil on Canvas
220 x 200cm
Tss1
Oil on canvas. Made from the canvas that once covered my studio floor during Term 1, the work carries traces of movement, time, and the space where other works were made. Through later layers of painting, these accidental marks become part of a new surface, where past process and present gesture quietly overlap.
2026 - Oil on Canvas
160 x 210cm
(￣(oo)￣)
Simply enjoy painting for what it is, following the colours, the brushstrokes, allowing it to become itself.
2026 - Oil on Canvas
130 x 200cm
Gang Rinpoche
During the years of drifting from place to place, I often find myself thinking of the snow-covered mountain of Mount Kailash. It stands there, through the passing of time, allowing the world to imagine and interpret its sacred and mysterious stories.
To me, it feels like a dwelling place for the spirit. As wind and snow move across the vastness of the mountain, something within me begins to loosen, quietly untying the knots that once kept me awake at night.
2024 - Soft Pastel on Paper
90 x 240cm
WU WEI
Wu Wei begins from the refusal to force an image into being. The work is built through repeated layers, covering, erasure, touch, and waiting, allowing the painting to grow through its own rhythm rather than a predetermined plan. I approach myself not as the sole creator, but as a medium through which the work can become.
2025 - Acrylic on Canvas
200 x 200cm
Death
Death is inspired by reflections on life, mortality, and transformation. Rather than approaching death as a final disappearance, the work understands it as a threshold: the ending of one state, the release of old forms, and the quiet beginning of another. The painting holds the tension between loss and gain, past and future, death and rebirth.
2025 - Mixed Medium
60 x 60cm
Ming Yi
Foam panel, spray paint, pearl, wire, toothpicks, glitter. Inspired by reflections on history, collective consciousness, and fate, the work explores how memory, time, and human traces become fragmented on the surface.
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2025 - Soft Pastel on Paper
60 x 170cm（x4）
Appreciation game
Appreciation Game explores how painting is seen, judged, and brought into being through the act of looking. For me, painting is a way of folding time: it begins with the experience of traditional Chinese ink painting and moves into a more open and expansive pictorial space. The past is not something that has disappeared, but something that continues to echo within the surface, being reinterpreted and existing alongside the present.
2025 - Pen on Paper
13 x 21cm each
The collection of
The Collection is a set of twenty pen-on-paper drawings inspired by grief, memory, and the traces left by daily experience. Each work becomes a small surface of feeling, time, and residue.
2026 - Oil on Canvas
130 x 200cm
pear
Inspired by a bright memory of an orchard: fallen blossoms, quiet air, and fruit that was never tasted but somehow remained. The work carries that lightness, like a small memory kept for no reason except that it was beautiful.
2025 - Acrylic on Canvas
160 x 210cm
fixation
Born from the desire to find an answer, Fixation slowly became a record of the obsession itself. Layers of marks, pressure, and unfinished space hold the tension between searching and surrendering, as the painting refuses to be fully resolved.
My practice begins from a difficult recognition: the more truthfully I sense, the more deeply I feel the rootedness of fate. Sensing does not free me from it; instead, it reveals the bindings, repetitions, desires, and memories that have already grown into the body and the work.
I do not see myself as controlling the painting, nor the painting as controlling me. We are both held within a larger structure, shaped by forces that cannot be fully named. In this structure, the desire to escape fate often becomes the very mechanism through which fate takes shape. The refusal of attachment may become another form of attachment.
Through layering, covering, erasure, pressure, and touch, painting becomes a surface where these invisible structures begin to appear. What has passed in reality does not disappear; it returns as residue, pressure, and trace. I do not paint to resolve experience, but to stay with what cannot be fully understood.
What remains on the surface is not an image of experience, but the evidence of having stayed with it.