The ho i symbol representing 'home' is significant to me in that I've never had just one. My family and I moved often until we landed in Hong Kong, China, when I was ten years old. There I spent my formative years and became a 'third culture kid,' someone who could not fully identify as being from either the U.S. or Hong Kong, but a fusion of the two. Seeing the world through the eyes of a third culture made me an avid observer, which has influenced my artistic process. By understanding two cultures so intimately, I feel like a connector between them - better equipped to find common ground and appreciate multiple points of view. Likewise, I look for ways to connect a design to a story, a message to an audience. My transient lifestyle primed me to finding inspiration in people, places, and objects all over the globe. My dream is to use the universal impact of design, in theatre and exhibitions, to create experiences that move audiences to think deeply about themselves and the world they live in.
home homepage
I identify with the Chinese tangram motif as a design concept. Not only does it pay homage to my years spent in Hong Kong, its simple complexity is similar to how I approach a design. The tangram game consists of seven basic shapes that, when moved into different positions, create an infinite variety of possibilities. To me, simplicity is about working smarter, and consequently deeper. I try to find elements that are relatable and yet up to the audience's own interpretation. Tangrams are also a form of problem-solving. Not only is the 3-D experiential design process a form of problem-solving that requires the careful balance of aesthetics and logistics, but it is a game that I let the audience partake. My intentions are to design spaces that empower those engaging within them to connect the stories to their own lives and find pleasure in discovering those synapses.