My work constructs fragmented photographic environments where cultural memory, archival histories, and speculative reconstruction converge. Through these liminal spaces, I examine how diaspora experience reshapes identity, memory, and belonging across generations. Rooted in Homi K. Bhabha's concept of the Third Space, my practice spans photography, collage, installation, animation, and moving image, creating hybrid visual environments where inherited histories can be dismantled, reconstructed, and continually renegotiated.


Using photography, collage installation, and sculptural paper cutouts, I create faceless representations of my body to examine how patriarchal systems have objectified, silenced, and erased Asian women. Embedded within these reconstructed images are questions posed to Chinese women by U.S. consular officials enforcing the Page Act of 1875, legislation that restricted the immigration of Chinese women through racialized assumptions of prostitution and moral character. By incorporating these archival texts directly into the photographic surface, I reveal how bureaucratic records became instruments of surveillance, exclusion, and the policing of Chinese women's bodies.


Cutting, layering, printing, and reconstructing are not only visual strategies but forms of embodied labor that echo generations of East Asian women's often invisible work of care, repair, and survival. Through these repetitive material processes, image-making becomes a way of carrying familial memory across generations while transforming acts of labor into acts of remembrance.


I construct fragmented photographic environments where colonial histories can be physically dismantled and reassembled. Through dioramas, hand-cut photographic fragments, and recurring motifs such as monarch butterflies, lotus forms, horse imagery, and fetishized Chinese doll aesthetics, I examine how colonial histories continue to shape Chinese diasporic identity and intergenerational memory. These reconstructed photographs create spaces where historical realities and speculation coexist, unsettling fixed narratives of personal memory and collective history.


By transferring my body onto fragmented surfaces, I reclaim authorship and challenge orientalist regimes of visibility. Cutout eyes emerge as forms of surveillance and resistance, interrupting passive viewing while reclaiming presence. The act of cutting becomes both violence and release: dismantling imposed narratives while rebuilding belonging. Across my practice, material labor becomes a means of preserving memory while reimagining diasporic belonging.