EXPLORATIONS ART

I’m a synesthetic artist exploring multisensory experiences, tactile perception, and experimental moving image. 
My work centers on the body—not only as a subject, but as a tool for sensing, translating, and communicating. 
I’m drawn to the moments when senses blur and overlap, when touch becomes sound, or image becomes texture. These crossings open up a new language of expression—one that lives beyond words, and beyond logic.
 
Trash Lives

Silent Monologue of Childhood

Symphony Underground

The Body Keeps the Score

The Peach Blossom Spring

TRASH LIVES（2025）

print / sound / video


Trash Lives is a multi-sensory installation exploring memory, identity, and emotional attachment through discarded objects. Rooted in personal experiences of childhood, displacement, and the precarity of living as a cultural minority, the work transforms everyday “trash” into fragile vessels of remembrance and resistance.

The installation combines sound, moving image, and a hand-bound zine, Trash Diary. Each collected object is documented with its story, date, and emotional context. Sounds recorded from these items—wrinkled wrappers, paper bags, empty bottles—are visually translated into waveforms and converted into musical notes, forming intimate melodies that preserve the tactile memory of each object.

A cupboard structure, projection-mapped with abstract visuals derived from the artist’s synesthetic perception, acts as a fragmented archive of memory. By preserving what mainstream culture deems worthless, Trash Lives challenges dominant notions of value, reflects on the emotional survival strategies of those living at the margins, and asserts the right to hold on—to objects, to histories, and to the traces of self that might otherwise be erased.

Exhibiton:
AS BEYOND SO BETWEEN, All is Joy Studios, London, 2025

Silent: Monologue of Childhood（2025）

graphic / sound / video

Monologues of Childhood is a Synesthesia composition that transforms buried childhood memories into color, sound, and motion. Rooted in a personal moment of sensory dissonance—when, as a child, I painted a tree blue because that was how I felt it, only to be told I was wrong—the work reclaims the freedom to perceive the world beyond imposed rules.

Instead of writing a conventional letter to my younger self, I translated each sentence into color—my inner language. These colors were then mapped onto an eight-tone music box score, turning emotional memory into melody. Color became music, and music became a form of speaking.

Visually, the work incorporates an animated “grating effect” that shifts with the viewer’s position, echoing the way perception changes when we choose to feel rather than simply look. Symbols within the video suggest an alternative future—one where art education nurtures sensory freedom, values subjective truth, and allows perception to remain fluid and unruled.

Monologues of Childhood is a quiet protest against the silencing of inner vision, inviting the audience to let go of inherited templates and return to a way of sensing rooted in the body, the mind, and the emotional memory.

Symphony Underground （2024）

print / sound / video

Symphony Underground is a multisensory exploration of my embodied relationship with London, using the experience of riding the Underground as a point of departure. Inspired by theatre and modern dance, the project began with time-lapse photography capturing involuntary body movements—the subtle sway and shift as the body yields to the metro’s rhythm.

To investigate this interaction further, I created a “touch diary” by covering metro handrails with paper tubes and applying a layer of dry oil-based powder to my hands. Each grip transferred my fingerprints to the paper, leaving tactile traces that recorded the train’s motion, speed, crowd density, and even the weather—an unspoken archive of how the body instinctively responds to its environment.

These touch-based imprints were translated into sound data and then visualized through textured brushstrokes, forming an abstract animation. The resulting work is a sensory symphony—an urban record composed not of images, but of movement, rhythm, and presence.

Symphony Underground offers an alternative map of the city, one navigated by touch and listening rather than sight, inviting a way of sensing where the body becomes both the traveller and the archive.

The Body Keeps the Score（2023）  

print / video

The Body Keeps the Score is a project inspired by the psychology of trauma and the somatic memory of pain. Originating from my own fear of bicycles—a conditioned response to a childhood injury—I began to investigate how trauma lives in the body. Through interviews with others, I collected stories where ordinary objects became hidden triggers, leaving behind both visible scars and invisible wounds.

The project has two parts. The first is a series of needlepoint-style graphic works that simulate the act of tattooing, recreating scars based on personal narratives. The second consists of tattoo designs derived from simulated pain sensations—each pattern is a visual translation of bodily pain, created through a synesthetic approach that transforms feeling into form.

The final outcome includes a video where participants share their stories as the tattoo-like designs emerge on their skin. These patterns, shaped by memory and courage, visualize trauma not only as a mark of the past, but as a felt and shared experience.

The Peach Blossom Spring (2023)

illustration / animation


Peach Blossom Spring is a synesthetic journey into a mythical ideal—one constructed not through sight, but through sound.

Drawing inspiration from the ancient Chinese tale of a hidden utopia, I reimagined a park space by relying solely on hearing. After spending a day walking through the park, I recorded the entire soundscape of my movement and later used these recordings to reconstruct the environment visually—not by memory of images, but by what I heard. Each brushstroke of my ink painting responds to rhythm, texture, and space as perceived by the ear, not the eye.

The result is a map of the park built entirely through auditory perception—a reinterpretation of space where visual abstraction emerges from acoustic reality. Natural sounds are preserved in their raw, layered cacophony, revealing a vibrant energy often filtered out by visual bias.

This project proposes a new mode of sensing: by shedding visual dominance, we awaken the other senses and open ourselves to a different kind of beauty. Peach Blossom Spring becomes not a place, but an experience—a return to instinct, a utopia sensed from withi