A Table Without Us

   

A Table Without Us takes a Lunar New Year dinner as a scene of bodily debt, where care, silence, money, and unresolved family tensions are distributed through festive dishes and seating arrangements. Built from paper, the dining table becomes both abundant and fragile: a family ritual that appears complete on the surface, yet remains swollen, blocked, and undigested within.

The Translation of Pain reconstructs a therapy room at 1:1 scale with paper and wooden sticks, asking how bodily pain becomes legible through language, translation, and medical systems. As the first chapter of Hemorrhoid Loans, the work focuses on the moment when private shame enters a room, and the body begins to be read as both a medical and emotional archive.

Curses: Final Girls

   

Curses: Final Girls is a moving-image work that gathers three haunted female figures across East Asian and Nordic imaginaries: the Taiwanese human-faced fish, the Norwegian Huldra, and the contemporary K-pop idol. Through horror, folklore, fandom, and pop performance, the work reflects on how female bodies are transformed into myths, warnings, spectacles, and objects of desire.


Curses: Final Girls asks what kind of body survives after being looked at, consumed, feared, and loved too intensely.

Hand in Hand into Havoc

   

“Hand in Hand into Havoc” draws together elements and works related to “Lykke Til,” the artist’s recently completed narrative short film, which examines life’s unforeseen challenges through the eyes of a Hong Kongese migrant living in Norway.

A semi-fictional film following three friends sharing inherited family recipes in a soon-to-be-vacated Oslo apartment. While they cook and eat, the film gently reveals unresolved paternal traumas that linger beneath the surface. Domestic intimacy and surreal undercurrents coexist, as food becomes both comfort and confrontation. The film reflects on masculinity, friendship, and the emotional legacy of their fathers.