2025
Web page using HTML, CSS, and Javascript only
Four videos are displayed, capturing the exact same moment in time from 14:20-14:25 UTC on December 1, 2025. The videos run for their entire 5-minute duration before the page automatically refreshes with another random selection of four recordings. Participants filming the videos each provided a description of their position shown alongside each video. Locations span North America, Europe, and Asia.
This site is a respite for Internet travelers fatigued by the compression of space and time within our media landscape. Such simple and slow mundanity of a particular place—rarely seen on our devices—is juxtaposed against that of another, in infinite permutations.
小美国佬儿
2024
132-page, 7.75 × 8 in., perfect-bound softcover book
《小美国佬儿》examines two generations of a Chinese immigrant family, each in their own journey as foreigners in a new land. As photos flash left and right throughout the book’s progression, the viewer is taken back and forth between the artist’s country of birth and country of cultural heritage. The imagery almost feels absurd as subjects appear like locals in their respective locations but in reality are seen as outsiders.
The title of the book roughly translates to “little Yankee,” a diminutive of a term meaning a patriotic American citizen, which my uncle called me as a child during my visits to China.
Trimming snow peas by hand
2025
Single channel video projection
A person trims a bowl of snow peas. This process takes a total of 20 minutes, during which four numbers on screen count upwards at varying speeds. Supplementary text written on a piece of paper accompanying the video provides descriptions of each number:
1. Number of posts made on Instagram, on average
2. Number of images produced using generative software, on average
3. USD equivalent earned by a courier in Shanghai
4. Units processed by a picker at Amazon Fulfillment and Sort Centers, on average
This work highlights the discrepancies within the production and consumption cycle of media. Content is churned at exponential rates, yet our hands and feet and bodies can only move so fast. The numbers are designed to look like file metadata, implying that these material imbalances are inherent to our use of immaterial mediums.
2021
Web page using HTML, CSS, and Javascript only
A little handmade web space that featuring a live feed of anonymously contributed urls leading to Internet destinations of a similar sentiment. This site is the distillation of extensive research, conversations, and experiments around alternative web practices, decentralized networks, and online gathering.
Greetings From
2021
36 4 × 6 in. postcards
Families separated, friends disconnected, and strangers isolated, “Greetings From” is a performed documentation of a moment in history.
36 travel postcards depict imaginary worlds that we will never travel to; never explore; and never see, feel, or touch. Each contains a description which sometimes makes sense and at other times loses meaning altogether. These images are generated using a StyleGAN model trained on a personal dataset of landscape and architecture images, and the descriptions are created using an attention-based model that generates captions based on each image. These surreal places are our new travel destinations, reflecting the evolving constraints of our physical being.
As an act of adaptation, these postcards are used to document current thoughts and feelings and then mailed to physically distant friends, family, and acquaintances.
(662) MOS ARCH
2022
Interactive event; exhibition design
Concept, design, and orchestration of a hybrid exhibition for MOS Architects held at Princeton School of Architecture, produced in collaboration with Michael Meredith and Alex Lin. Art direction by Studio Lin. Photography by Michael Vahrenwald.
Much like the MOS office, this exhibition communicates with you via text message. Upon "entering" in-person or remotely, visitors can text an automated SMS system using the exhibition title number to read curatorial statements, object descriptions, and maps to navigate through the space. To navigate, the system provides a map with location markers that visitors can text to move, almost like a video game, and then receive an updated “You are here” map, with accompanying photographs of the exhibition room from that physical position.
The moon when it’s big, the moon when it’s bright, the moon when it’s low and yellow, the moon when I spot it unexpectedly, the moon when it stops me in my tracks, the moon when it looks like it’s greeting me, the moon when I know others see it too, the moon when it makes
my whole night, the moon when it reminds me I am alive.
2024
392-page, 4 × 6.25 in., perfect-bound softcover book
A compilation of all the photos of the moon I’ve ever taken, a project started in 2017. The book begins with a series of text messages sent to me related to the moon. The book’s size reflects the true scale and resolution of each photo, usually taken on iPhone. Each photograph is a result less of calculated aesthetic production and more of bodily reflex to capture an astronomical wonder. Put together, these images are documentation of this futile impulse to contain an immortal body with ephemeral mediums.
Untitled
2025
Digital photography; series of 18
A photo series taken across China documenting various expressions of its technological development, evoking a dreamlike sense of dystopia.
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