Egg Container
Inspired by the Southern Chinese tradition of placing eggs in containers during the Dragon Boat Festival, the HolyEgg series merges historical and cultural elements into a contemporary design. Drawing from the form of 5th-7th century Byzantine censers and the bamboo hanging baskets commonly seen in Southern China, these suspended candleholders are crafted in glass. The series blends heritage with modernity, reinterpreting traditional forms to create functional and evocative objects of cultural memory.
Temporary Living glass series![]()
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This series explores the fluid nature of contemporary life, focusing on the overlooked aspects of prolonged transitions. What we call “temporary” often lasts far longer than we expect, quietly stretching into years and making it harder to build meaningful connections or stability. In a world where efficiency dominates, objects are often valued only for their practicality. But should this always be the case? When mobility compresses time and space, breaking life into scattered fragments, can objects help us rebuild a sense of continuity and intimacy?
The works center on a collection of deeply personal, intimate objects. Through these objects, the series seeks to create new emotional connections within impermanence. The artist’s childhood memories of lighting candles and sharing stories reflect how moments of continuity and intimacy can emerge even in temporary situations. These narratives do not only revisit collective memories but also explore how “beautiful waste”—fragile and inefficient objects—can disrupt modern life. By stepping outside strict functionality, these objects invite people to pause and reflect.
The creation process brings together archival research, the study of collective memory, and glassmaking techniques. Every mark and detail on the glass reveals the story behind it. These works introduce a kind of tension into a fast-moving world, asking for care and attention that encourages moments of stillness. The artist’s experiences traveling and studying in Europe have added layers to this practice, combining memories from different places and times. These overlapping memories form a textured narrative, much like the layers of an archaeological dig. In the end, the series connects memory, material, time, and space, creating a multidimensional framework that engages with today’s world.
Glass, as one of the oldest materials, naturally holds traces of time and gravity in its making. When light passes through it, the refracted glow creates a sense of futuristic beauty. In a modern context, glass can reinterpret and reframe old or discarded objects, giving them new meaning while making them feel unfamiliar through shifts in time. These inefficient and fragile objects become “non-human participants” with their own sense of agency. Through their narratives, they intervene in everyday life, transforming from static displays into active participants that reshape how we think about the rhythms of contemporary living.
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