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Whale Falls
No full textEntry for the 12th Baker & Whitehill Student Artists\u27 Book Contest. Opening reception and award ceremony Wednesday, February 25, 2026 at 6:30pm, Fleet Library, 1st Floor Main Reading Room. Juror: Gabrielle Reed.https://digitalcommons.risd.edu/bookcontest12th2026/1057/thumbnail.jp
Nowy Don Kiszot / Teatr Narodowy (The New Don Quixote / National Theater)
No full texthttps://digitalcommons.risd.edu/picturecollection_polishposters/1190/thumbnail.jp
Cyrk (Circus)
No full texthttps://digitalcommons.risd.edu/picturecollection_polishposters/1192/thumbnail.jp
11th Baker & Whitehill Student Artists\u27 Book Contest Call for Entries Poster
Full text linkPoster for the 11th Baker & Whitehill Student Artists\u27 Book Contest. Opening reception and award ceremony Wednesday, February 19, 2025 at 6:30pm, Fleet Library, Main Reading Room. Juror: Roger S. Williams.https://digitalcommons.risd.edu/bookcontest11th2025/1062/thumbnail.jp
Interacting with Color: A Practical Guide to Josef Albers\u27s Color Experiments
No full texthttps://digitalcommons.risd.edu/colorlab_exhibitions_interactingwithcolorfritzhorstman/1002/thumbnail.jp
Interacting with Color: A Practical Guide to Josef Albers\u27s Color Experiments
No full texthttps://digitalcommons.risd.edu/colorlab_exhibitions_interactingwithcolorfritzhorstman/1003/thumbnail.jp
Swing Landscape
Full text linkThe text will consist of my self-introduction and short articles. Roughly speaking, the narrative is built upon my background and personal transformation. Geographically, I was born in Shenzhen (largest migrant city in China), lived in Shanghai (China’s largest economic center and a major international financial hub), and now reside on the East Coast of the United States, as a particle moving between different cultures, global commodities, and online media. I engage subjectively in these objective changes, with objects and events shaping who I am. I consider myself an outsider, an observer, an economic enthusiast, and a newspaper reader, participating in a globalized context. I also consume, while observing production, group changes, labor, and factory transitions. As a history enthusiast, I learn about economic changes throughout historical cycles from museum and gallery artifacts, which has become a leisure activity for me. In my work, I enjoy connecting objects—contemporary and ancient, Eastern elements within Western objects, or the influence of the West on the East, ancient intercontinental trade and today\u27s global commodity trade, traditional marketplaces and modern shopping malls. These binary cultural relations uncover historical relevance and serve as the basis for my creative observations. Influenced by my undergraduate professor, Yiyun Chen, who introduced the topic of future body usage laws and encouraged us to imagine the future through speculative design, I gradually began observing the body as a daily practice. Moreover, phenomenology has expanded the way I observe. The body is open towards the world
Parallel Worlds
Full text linkWhen I start a painting, I’m never sure how the painting process is going to go or how the painting will be resolved. I don’t plan things out or make sketches in preparation for the paintings. Each decision is intuitive. I typically have a question, a response from a prior painting. As a result, all the paintings in the studio become related as they respond to each other.
Doubt and curiosity steady my hand, balancing one another out. Through hard work, time, mistakes and the occasional success, a painting gradually emerges from the surface. Sometimes it is lost again for a while and needs to be excavated back out. There’s a rhythm to this process: the painting builds up, things are pushed back again, then it builds and builds and builds, then sometimes pushed back again. Sometimes there is a “final move” to lock things in, but it doesn’t always work. The rhythm relies on this gradual evolution that occurs over time. Each decision is considered, weighed against other possibilities. The color needs to be right. The speed of each mark needs to be right. Everything needs to be just so, otherwise the move doesn’t work. Sometimes the conclusion sneaks up on me quickly and a painting surfaces within weeks. Other paintings require months or remain unresolved for years before returning to them with a little more patience and having learned more from other paintings.
With this process of decision making, when is the painting done? As it approaches an ending, the painting slowly begins to resist change. Eventually, finally, the painting reaches a point where it stares back at me, despite not having eyes or a corporeal body. It reaches a certain density, a vibration, a voice. Color becomes a conduit for this voice, emanating from a parallel world. Saturated and close in value, the color relationships speak to one another, energy pressing out from within. I think of them as having a life of their own; studio creatures made through the development of their character through this evolution. They even become friends with each other, stronger together than apart. There’s something queer about them in the way that they lean on one another, finding unexpected ways to hold each other up. I feel like I belong with these paintings too. We fight, we negotiate, we work together, we make compromises. Sometimes we need some space from one another, too. The paintings are most alive when they are metamorphosing. So am I. I want the paintings to remain open for as long as possible. When the paintings feel resolved too quickly, I feel disappointed. I feel like I haven’t gotten enough out of them, learned from them enough yet. We haven’t spent enough time together to build trust that this is the way things should be
Of Dolls and Jewels : Keeping as a Strategy of Care and Belonging
Full text linkIn this thesis, I will discuss the psychology behind object attachment in the doll-keeping subculture by integrating doll language into contemporary jewelry. I researched the Chinese term “Pi” as an accurate way of explaining how doll-keepers are attached to their dolls. In this 21st century, the widespread use of social media and AI technologies have deepened people\u27s reliance on virtual spaces, leading to emotional detachment in our society. Adopting the concept of “Pi” into contemporary jewelry, which encourages a shift in focus towards external objects, the practice of doll-keeping becomes a form of self-care that compensates for our current loneliness epidemic. Through the art form of jewelry, I analyze the complex and intricate relationships between doll-keepers and dolls. I utilize photography as a way of gazing at the jewelry’s interaction with humans, revealing the unseen connections between the object and the body. The medium of jewelry will bridge the lesser-known doll-keeping subculture with a wider audience. Through the combination of jewelry and attachment theory, my works demonstrate a potential therapeutic effect on loneliness
The Portals: Jewelry as a site of escape and solace
Full text linkThis thesis investigates jewelry as a medium for emotional escape and psychological refuge, offering multisensory alternative forms of escapism. Rooted in personal experiences of continuous change and instability, the work explores how imagined spaces—constructed through AI-generated and digitally assisted visuals and layered material processes—can serve as intimate sanctuaries. Drawing from psychological theories, surrealism, and escapism, the study positions jewelry as a portable interface that enables temporary retreat without full detachment from reality. The series of work, which integrates transparent acrylic, visual layering, and subtle dimensionality, materializes these imagined spaces into wearable forms. These pieces invite reflective engagement, allowing wearers to momentarily disengage from daily pressures while maintaining agency and presence. Ultimately, the body of work reframes escapism, not as avoidance but as an intentional act of restoration, grounding fantasy within the lived experience