Projects
This project explores my personal reflection on the colonial relationship between Hong Kong and Britain. After moving from Hong Kong to the United Kingdom, the former coloniser of my homeland, I found myself in a complex position where the post-colonial mentality intersects with the marginalised experience of being an immigrant.
The sense of dislocation forced me to confront myself with what it means to exist between histories. I question whether decolonisation is really possible or if it leads to another form of control.
My collage pieces together fragments of my identity and exposes the inherent tensions of belonging to a place that was never fully mine, yet has profoundly shaped who I am.
This work explores the intersection of illness and politics, drawing from my personal experience of living with eczema, due to the widespread use of tear gas in Hong Kong during the 2019–2020 protests. These protests were to resist an extradition bill that threatened Hong Kong’s autonomy.
Through this piece, I question the health consequences of political violence and its lasting impact on the collective well-being of Hong Kong citizens.
This project explores the parallel between sleep and death as two kinds of endings. Sleep and Death shared stillness makes them difficult to distinguish. A sleeping body can closely resemble a dead one, quiet and unmoving, blurring the boundary between rest and absence.
Sleep ends a day and opens into another. Death ends a life and opens the possibility of an afterlife. Both carry the weight of closure and transition.
This typological photography project approaches bedrooms as sites shaped by vulnerability, routine, and personal negotiation. Each bedroom reflects a distinct relationship between the individual and the space they inhabit.
Bedrooms function as personal sanctuaries, particularly during moments of insecurity or emotional exposure. Through objects, layout, and patterns of organisation, they show personality, lifestyle, and unspoken habits. These spaces quietly record how people live, rest, and recover.
The project presents a series of bedrooms that hold contrasting states at once. They are spaces of wakefulness and sleep, safety and vulnerability, health and illness, privacy and intimacy.
This project was developed in collaboration with Lomography Hong Kong using the Lomomatic 110 film camera. During my trip back to Hong Kong, I adopted a more instinctive approach to photographing the city, responding to details that caught my attention without overthinking.
Rather than focusing on large scenes, the work centers on overlooked urban fragments such as water pipes, bamboo scaffolding, graffiti, and objects that feel out of place. Presented in pairs, the images reveal unexpected connections and recurring visual patterns, reflecting how the city is experienced through small, everyday details.
This work documents a graveyard located near where I lived. I approached the space as part of everyday life rather than a distant or symbolic site. The graveyard exists alongside routine, quietly holding stillness, memory, and time.
A fire broke out at Wang Fuk Court in Hong Kong due to fire safety issues. This project was the day after the fire was put out.
The work responds not only to the event itself, but to what the fire revealed about social structural neglect, governance, and the normalisation of preventable tragedy in Hong Kong. However, rather than seeking a resolution, this project reflects on the difficulty of holding hope in the city.
The photographs contain the emotions I felt during this incident, which are shaped by growing up in Hong Kong. When fear, grief, anger, exhaustion, and anxiety have become embedded in the city. Photography became a way for me to approach emotions that could not be immediately processed.