Exhibition introduction goes here. Replace this paragraph with a short statement on the concept, themes, and curatorial approach of the exhibition.

Add a second paragraph if you would like to say more about the works, artists, or the spatial and visual design.

Exhibition introduction goes here. Replace this paragraph with a short statement on the concept, themes, and curatorial approach of the exhibition.

Add a second paragraph if you would like to say more about the works, artists, or the spatial and visual design.

Exhibition introduction goes here. Replace this paragraph with a short statement on the concept, themes, and curatorial approach of the exhibition.

Add a second paragraph if you would like to say more about the works, artists, or the spatial and visual design.

Exhibition introduction goes here. Replace this paragraph with a short statement on the concept, themes, and curatorial approach of the exhibition.

Add a second paragraph if you would like to say more about the works, artists, or the spatial and visual design.

A Long Song of the Grand Canal (大运长歌) was an exhibition presented in Ningbo, China, in 2023.

Being Theoria (缓存在) was the fourth Hangzhou Triennial of Fiber Art, on view from October 18 to December 4, 2022.

Commissioned to curate the unused space at the top of the Oriental Pearl Tower, a Shanghai landmark that has been losing its appeal for young people. The project sets out to break the spatial status of the Black Cube and turn a conventional science-popularization show into a scientific and humanistic exhibition with aesthetic and educational weight. Its theme is the future department store and supermarket, an exhibition that draws people in and prompts them to think about how technological change shapes humanity and society.

Research came first: a thematic map of the tower and the routes around it, a timeline of its history, and field research inside the dome (Floors 1 and 2). Earlier exhibitions there had followed the same science-fiction formula of dark interiors, cold light bands, and low-grade content, so the team designed new light strips based on the tower’s own lighting system and worked with programmers on the lighting.

Every exhibit is designed as a shelving system, named after its inspiration: Container, Pallets, Suspension, Gravity, Loft, Rotating, and Sailing. Each is mobile and changeable, and can be shown alone or in sets. The ring-shaped dome becomes an exhibition with no beginning and no end, so visitors choose their own route. The elevator, fitted with silver aluminium profiles, sound, and air blowers, gives a sense of travel up to the 339-metre dome.

An exhibition of experiments on life and time. The curatorial team contacted Prof. You Hailu of the Chinese Academy of Vertebrate Biology, who recommended a paper on dinosaur restoration as inspiration. The team then gathered artworks connected to deep time, life, dinosaur restoration, and geology, and organized the show in two parts: a Documentary Exhibition and a Video Exhibition.

Deep time, a concept developed by the Scottish geologist James Hutton in the late 18th century, helps put the short span of human existence in perspective and highlights the changing nature of the planet.

The centrepiece is a glowing, suspended white halo built from aluminium profiles, covered with white Dupont paper, and lit from inside. Films can be projected on its inside or outside, or it can stand alone as a giant light. Twelve groups of profiles bend together into an oval, which from above corresponds to the twelve ‘fengshui’ branches of traditional Chinese culture, a metaphor for the relationship between time and geology. A seesaw-inspired exhibit holds literature and a projector at its balance point, with curtains at each end showing two films at once. In the video area, films play on a seven-metre-high curtain, and visitors can enter a tower and look up at the top screen.

A self-curated art event celebrating the fifth anniversary of Westlake University in China, conceived as a playful academic exchange. Over 20 exhibits of different forms and functions were positioned across the field. They work as versatile platforms that can host film screenings and act as independent projection rooms.

The exhibits also create discrete rooms within the public exhibition area, giving visitors a private, secluded space for introspection whenever they want one. The project is used as a case study in research on how exhibition spaces become homogenized, and how a new curatorial space can answer that.

Poster design for After Throwing (丢球之后), an exhibition presented by E.SCAPE (艺术空间) in Shanghai as its [Jia]_家 2026 Annual Curatorial Project, on view from August 29 to October 7, 2026, and supported by YYO Foundation.

The Chinese and English titles run across the page in large, tilted display type. A thin curved line traces the path of a thrown ball, a soft white sphere hangs at its end, and acid-yellow corner brackets frame it against a pale, grainy gradient. Artist, curator, and credit lists sit in a bilingual column on the right.

Poster design for the exhibition Planetarity: Friction, Fossils, and the Future at Gelman Gallery, on view from November 14, 2025 to January 11, 2026, with an opening reception on November 13.

The title is set in an arc over a ring of planet-like discs, above a bowl of layered landscape and fossil imagery in grayscale. The names of the participating artists are scattered across the sky, and the curators and gallery hours sit along the bottom edge.

Cover design for the Master of Arts thesis submitted at Rhode Island School of Design (Global Arts and Cultures). The full wrap covers front, spine, and back, with the title set in a light typeface and a small image above the author’s name on the front.

The back cover carries the questions that guide the thesis: how international curatorial frameworks stay meaningful within China’s cultural, political, and institutional conditions; how spatial devices operate as regimes of visibility; how those regimes reorganize authorship and labor; and how different curatorial temporalities reshape spatial grammars and publics over time.

The graphic and editorial system behind the O-O-O-E Hypermarket exhibition, built in five steps. First, a fictional sci-fi chronicle in which the Pearl of the Orient is an important building holding many events. Second, an illustrated version of that chronicle. Third, a backstory for each piece of merchandise drawn from the chronicle, with its own timeline illustration. Fourth, virtual labels for the merchandise. Fifth, the curatorial book that gathers it all.

Graphic design, content and illustration, and information visualization. Myth is a collective imagination and a way of speaking in a collective language. The many goddesses of weaving became the original linguistic expressions that shaped the art of fiber and the relationships between women, and weaving has since become a social metaphor and a universal ideology.

Our group started from the 100 chapters of mythology, using different categorization techniques to look for hidden relationships between them and to map them across regions and stages. The plate is divided into five major panels plus illustrations of sun, moon, and border: one hundred Eastern and one hundred Western myths, an extension of thinking across music, opera, fairy tales, and religious stories, the intentional objects and behaviors used in the myths, and the application and development of fiber practice. The sun illustration holds three types of goddesses from Western mythology, the moon holds hand-drawn animals and constellations, and the border carries hand-drawn goddesses with classic excerpts from the myths.

In Mirror is a graphic design work from 2022.