2020–
Three-channel audiovisual installation
Variable dimensions
The video installation, 43251, takes the number of deaths in Taipei in 2019 (a total of 43251 people) and calculates that on average a person died in every 12 minutes and 18 seconds, which is the length set for the music to be composed. When the music is in progress, the number of deaths in the previous year is calculated (starting at 0 and reaching 43251 at the end). Music plays a life-and-death (repeated experience) program that rotates 43251 individuals through the circulation of the song, at the control of 12 minutes and 18 seconds. When the song ends, it also means that a life has come to an end.
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2021
Archival photographs, digital prints, text,
transparent acrylic panels
Variable dimensions
Observation-Station begins with the image as a carrier of memory, examining how images gradually transform through time, preservation, reproduction, and transmission. Visual information once intended to preserve and identify the past becomes increasingly marked by grain, distortion, and noise as it deteriorates, leaving the image suspended between recognition and illegibility.
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2022
Installation
Taxidermy specimens, photography, video, found objects
Variable dimensions
Community of Lost examines the ambiguous relationship between humans and animals through taxidermy, images, and installation. Removed from their original environments and placed within human spaces, preserved animals occupy an unstable position between presence and absence, intimacy and estrangement, life and objecthood.
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2018–
Installation
Wood, gel ink ballpoint pen, ink
Variable dimensions
Tombstone considers the lifespan of an ordinary pen through the relationship between writing, consumption, and memory. As the pen is gradually exhausted through use, its ink leaves behind a material record of its own disappearance—a trace produced precisely through the process of being consumed.
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2019
Mixed-media installation
Archival photographs, painting, digital prints, found materials
Variable dimensions
Trauma of Portraits examines the relationship between historical images, violence, and memory through the alteration and reconstruction of found photographs. Approaching these images from the position of a temporal outsider, the work considers the photograph not only as evidence of a past event, but as a material surface through which history can be repeatedly interpreted and rewritten.
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2017–2020
Painting / Works on paper
These works approach painting as a form of visual notation—a provisional space in which images, memories, and bodily forms are repeatedly tested, erased, and reconstructed. Rather than functioning as autonomous pictorial compositions, they operate closer to sketches: surfaces for recording the movement of thought through gesture, repetition, and material transformation.
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2026
Video installation
Mixed media
Variable dimensions
If It Comes Near seeks not to portray war itself, but to capture the moment before itarrives—when it has already begun to reshape hearts and language. It lingers in the spacebefore speaking, before fleeing, before full comprehension. Perhaps it is precisely these unnamed experiences that make up the quiet reality of everyday life. Through an arrangement of video, writing, and objects, the exhibition shifts focus from politics and history to individual psychological states, posing the question: how do we approach one another when language is incomplete and understanding has yet to form?
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2025
Single-channel video
24 min
Burmese with English subtitles
Official Selection, Taipei Golden Horse Film Festival, 2025
Set inside a pastry factory in Myanmar during a time of escalating conflict, Solitary Wave unfolds on the edge of an unseen war.
As distant explosions grow closer and electricity becomes unstable, the workers are asked to vote: stay, or leave.The film does not depict the battlefield. Instead, it observes the suspended psychological state before violence fully arrives — a condition in which daily routines continue under the weight of uncertainty.
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2026
Photography, artist book
Archival installation, mixed media
Variable dimensions
Stuck. examines discarded chewing gum embedded across the public surfaces of New York City as a material record of time. Photographed systematically across Manhattan and Brooklyn, these overlooked residues reveal different states of transformation shaped by pressure, weather, pedestrian circulation, and repeated contact.
Through photography, publication, mapping, and archival display, the project considers how ordinary waste is gradually absorbed into the material texture of the city. Rather than documenting the history of each object, Stuck. traces how time becomes visible through accumulation, erosion, and disappearance.
This publication is not a catalogue of chewing gum. It is a catalogue of time.
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2022
Site-specific installation, durational process
Dust collected on site, plants, broom, mixed media
Variable dimensions
4 Floor begins with the repetitive act of sweeping and collecting dust from a single site throughout the exhibition. Gradually accumulated into small mounds and used as soil for living plants, the dust shifts from an overlooked residue of habitation into a material capable of sustaining new growth.
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2018
Installation
Video, mixed media
Variable dimensions
Message examines how perception and reality are transformed through the production, transmission, and reception of information. Rather than treating communication as a transparent exchange, the work considers how preconceptions, distance, and misunderstanding continually reshape what is perceived.
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