Fruit Market (2022) is a stop-motion animation work with collage of photographic fragments of Yau Ma Tei neighbourhood. The animation work took challanges to narrate spectator throughthe daily routine of the operation of Yau Ma Tei Fruit Market inHong Kong. The work plays with repeatitive characters on shop signs and the labels on the fruit carton boxes. The sound scapeare made with the field-recording as well as abstract sound effects to depicts the vitality and dynamics of the district.

Defoam was a 2D animation emphasis on the attachment to the memories which director situates the protagonist in the laundry shop with an impulse to detach from any of the past by “washing” the memories away, later leading the protagonist enter a void realm where they came to a realisation on the proposition of knowing thyself.

About__ was a set of two short pictorial poetry turned in to synchronised videos, and projected at different corners in the city. The montage videos composed with the photographs of signs, snapshots, graffiti found on street, and stitched as a way to explore collective consciousness of the urbanite. The montage synced along two separated poetry looping on street.

Title of “NIL nix nul” are the Latin and German wordings of“nothing” aas to present “nobody”, and constructed in formation of Chinese name. These words are concatenated to be the name of an unrecognizable figure who gradually disappears in the video.

Landscape, 4K, Realistic (2023-2024) is installation with printed souvenir created with AI generated images and simulates a souvenir shop filled look-a-like images of scenic landscapes, and tourists' portraits.

trunc([35.6762 - 22.3193],[139.6503 - 114.1694]) is an ongoing project of exploring the act of "excavating" in digital files in faulty camera and SD card. It was a set of photographic prints from the malfunction of a old SD card of the CCD camera that once frequently used by family members.

Something Sometime consists of two parts, Here-to-fore and 7749, as a practise that built upon the idea of Zuo Ci, a Chinese traditional rituals that performed 49 days after the deceased passed away.

Mahjong Mart (2022) is an animation work extened from the Fruit Market (2022), also as a part of the Max Hattler’s abstractanimation programme in Creative Media, City University of HongKong, in collaboration with The HKTB Youth Academy of theHong Kong Tourism Board.

Fruit Market (2022) is a stop-motion animation work with collage of photographic fragments of Yau Ma Tei neighbourhood. The animation work took challanges to narrate spectator throughthe daily routine of the operation of Yau Ma Tei Fruit Market inHong Kong. The work plays with repeatitive characters on shop signs and the labels on the fruit carton boxes. The sound scapeare made with the field-recording as well as abstract sound effects to depicts the vitality and dynamics of the district.

Defoam was a 2D animation emphasis on the attachment to the memories which director situates the protagonist in the laundry shop with an impulse to detach from any of the past by “washing” the memories away, later leading the protagonist enter a void realm where they came to a realisation on the proposition of knowing thyself.

About__ was a set of two short pictorial poetry turned in to synchronised videos, and projected at different corners in the city. The montage videos composed with the photographs of signs, snapshots, graffiti found on street, and stitched as a way to explore collective consciousness of the urbanite. The montage synced along two separated poetry looping on street.

Title of “NIL nix nul” are the Latin and German wordings of“nothing” aas to present “nobody”, and constructed in formation of Chinese name. These words are concatenated to be the name of an unrecognizable figure who gradually disappears in the video.

Sinking (2019) explores the ideology that individuals are trained to fit into and follow the rules of the capitalist social system in order to thrive in modern society.

Consuming Love is an early video work that re-composite wordscollected from the billboards and street signs into a “poetry” as aconfrontation of the relationship of love and consumerism.
