Recent Works
Recent Works
Where the Lilies Remembered Me
This work excavates the architecture of a childhood memory through the lens of place and sensory experience. rooted in the recollections of summers spent at my grandfather’s house in London, the painting translates the specific topography of his garden. – a pond dense with water lilies in colours that exceed in the natural spectrum, encircled by an apple orchard- into an abstract visual language.
120×100cm
Acrylic
2026
Langkawi Light
Inspired by many visits to Malaysia during my time in S. Korea. Clear blue waters beneath a hot tropical sun. Layers of yellow melt into turquoise, capturing not just the view itself, but the feeling of standing in that light.
190×90cm
Acrylic
2026
Colours They Chose for God
I spent six years in South Korea, among mountains of grey stone, green forest, and weathered timber. Against that restrained landscape, Buddhist temples appeared in sudden fields of colour: red, blue, green, yellow, white, and black arranged across beams, rafters, and eaves in the traditional language of dancheong. The black carries the weight of the surrounding landscape, rock, shadow, forest, and rain, darkened wood.
120×100cm
Paper with acrylic
2026
Nanpu Span
The Nanpu Bridge in Shanghai, this is my interpretation, a section of the cables and bridge; four decisive lines step across dark negative space like illuminated bridge members while dense marks and sharp contrasts echo Bund-side glow, reflections, and motion. The painting treats light as an afterimage -city night held briefly in geometric tension.
100×80cm
Acrylic
2026
Aggregate Grid
This work explores my interest in geometric design, drawing on the Bauhaus movement and Brutalist architecture. Repeating circular motifs are arranged in grid structures that suggest building facades and floor plans, while layered textures and a worn surface echo the raw quality of concrete. The composition balances order with warmth.
120×100cm
Acrylic
2026
Birling Gap at Sunrise with Golden Birds
When I was younger, my sister and I would go down to Birling Gap in East Sussex, UK. In the early morning, we’d watch the sunrise between the hills. The birds would flutter into the new light—scattering, gathering, and feeling alive with the day’s arrival. In this work, the golden birds are painted as companions: friends in flight, and also the people I’ve loved who have passed on—present in a spiritual sense yet moving onward. The landscape holds the steady rhythm of place, while the birds bring a sense of luminous change, as if the morning itself is carrying messages across time.
180×80cm
24k gold leaf, acrylic
2026
Celestial Confluence
This work suggests a meeting place of spiritual energy, where circular forms drift, connect, and merge like luminous portals in dreamlike heaven.
140×70cm
Watercolour paper with acrylic
2026
Memories of Malaysia
I lived in South Korea for six years, and every winter vacation for six weeks, I used to go to Malaysia. I visited six times. This painting represents the sights sounds and scents of this beautiful country.
180×90cm
24k gold leaf, acrylic
2026
Care, Hidden in the Noise
Uses an umbrella as a symbol of shelter and rescue. The umbrella represents care and protection you can feel, even when the world around you is loud. During my time in China, I have witnessed so much care around abandoned animals, care, love, and support. An umbrella of protection for those who cannot speak.
100×80cm
Acrylic with latex wash
2026
Crossings at the Centre of Silver Light
A silver band runs through the centre of the painting, dividing its dense field of colour. I think of it as a crossing point: a place where things gather, pause, and change direction. Above it, brighter fragments build into a restless, rising mass. Below, the colours break apart into smaller marks, becoming quieter and more dispersed. The painting moves between weight and lift, order and overflow, holding a moment of transition without trying to explain exactly where it leads.
120×80cm
Acrylic, silver leaf
2026
Edge of Turquoise
A contemporary landscape depicting a mountain edge lined with autumn trees beneath a turquoise sky. The composition balances warm, wooded textures with cool open space, creating an atmosphere that feels ancient, secluded, and quietly mysterious.
120×60cm
Watercolor paper with acrylic
2026
Threshold
This work can be read through a Taoist lens as a meditation on passage, balance, and transformation. Rather than a fixed boundary, the painting suggests a living space of transition, where opposites meet and shift into one another. Its circular forms and layered structures evoke the movement of qi, while the balance of dark and light reflects a world defined by relation and change. A world where stillness and motion coexist.
120×120cm
Acrylic
2026
Imperial Nine
My first year in China was in Beijing. During my winter holiday, I visited the Forbidden Palace and learned that the number nine was reserved for the emperor only. The nine orbs function like imperial markers: present and powerful yet contained with disciplined form. Dense texture and sharp contrast hold the composition like a formal record, turning imperial symbolism into visual law.
120×80cm
Acrylic
2026
When Language Becomes Colour
This work began with looking at ancient Sumerian writing: marks that seem close to language but cannot quite be read. I was interested in that edge between writing and abstraction, where a sign can suggest meaning without offering a clear message. Rather than making something decode, I wanted the painting to hold on to a sense of distance- like an object from a civilization we recognize but not fully understand. The marks become color, rhythm, and gesture. What remains unreadable is still felt as a trace or a presence.
60×90cm
Acrylic
2026
Concrete Bloom
I used to live at Zhongtan Park, and the 1000 trees complex was opposite my home. Heatherwick Studio’s development along Shanghai’s Suzhou Creek. From below, the stacked vegetation, structural columns, and neon sky are reimagined through layered striations, vivid colour fields, and white drips that evoke the building’s tension between engineered mass and cultivated life. The work captures the brief, visceral awe of occupying a space where architecture and nature appear to merge.
120×80cm
Acrylic
2026
When Summer Breathes Its Gold
This painting captures the fleeting interval when gardens across China quietly surrender to the approach of autumn. Layers of coral, amber, and rose interweave with ochres and fading greens, evoking summer’s last generous warmth dissolving into golden, reflective change. flecks of gold leaf catch the light like late sun on turning leaves, holding the transience of the season in luminous suspension.
100×80cm
24k gold leaf, acrylic with latex wash
2026
Yin in Geometry
Inspired by Bauhaus design and Chinese ideas of harmony, the painting explores the relationship between form, space, and energy.
120×100cm
Acrylic
2026
Nacre Chronicle
A vertical, time-worn study of iridescent light, where mother-of-pearl sheen meets layered texture like an artifact that has survived years. A memory of my grandmother’s jewelry box. The composition holds its glow in streaks and scraped marks, letting colour appear to shift rather than sit still, as if the surface is recording changes across time.
180×80cm
Acrylic
2026
