TITLE:

A Memory Of A Flower, 2026

Raw silk

26 3/8” x 13 1/2”(67 x 34.5 cm)

DESCRIPTION:

This work is inspired by the memory of a

flower and a flower festival I went to with my

grandmother. I learned in neuroscience that

every time you remember something, your

brain slightly rewrites it. Your brain mixes

in your current mood, new information

you’ve learned, or the environment you are

currently in. Because of this, the more you

think about a memory, the more it changes

without you even realizing it. I remember

our shared wonder of seeing the blossoming

installations at the flower festival—colors,

patterns, and gradients infused with joy.

Not an image or a scene but

a photo of an imagined flower appeared

in my mind. I wove this feeling, trying to

capture its impression and softness, letting

the memory fluidly evolve from the first

Photos from my internship at the EFA Robert Blackburn Printmaking Workshop (RBPMW).

The first thing every intern and I had to get used to doing at the studio was picking up the phone and swiftly saying, "Hi, this is 'PBPMW', how may I help you?" without getting our tongues wrapped in a knot. Try it yourself like a fast-talking New Yorker.

There is a unique of magic happens in a cooperative, shared studio space. In 2025 spring and early summer, I had the wonderful chance to intern as the teaching assistant at the RBPMW, whose mission support artists of all stages and of diverse backgrounds. I've always believed that making art should emerge from everyday living, and working there immersed me in a daily rhythms of bustlingly creative community. My job there was to prepare materials and tools before each workshop, clean up afterwards, and help out the teaching artists during those workshops. Outside workshops, I helped with the studio administration. There is a quiet satisfaction in preparing a space so that the students' or participants' imagination can safely unfold. I love how the classes there focus on printmaking skills and process; it was a wonderful experience to help students develop both their command of the medium and their own distinct visual language.

One of the greatest joys was the opportunity to learn and experiment alongside the students, an appreciated process that was encouraged throughout the internship.

I always enjoy learning new techniques and expanding my toolkit as a multidisciplinary artist. Previously, in a weekend class in Taipei, I explored mokuhanga (Japanese woodblock printing), carving blocks that visualized my everyday experience of walking to the mailbox in my hometown. Being at RBPMW expanded my curiosity into even more techniques, from screen printing and riso to photopolymer and etching

Surface Pattern Design | Pillow Case and Sheets Bedding

I designed this surface pattern inspired from the idea that fairy in storybooks often have magic power over plants and nature, like pixie from the celtic folklore.

A little Pixpurra has the super power to boost plant growth, fast forward to a colorful and flower state, or to re-wind it back to greenery--very suitable for the busy urbaner. It cannot bring dead plants back to life though!

Feature in the Prattler Magazine Issue of Spring 2024

My Journey in learning the Bow Weave Technique in Taiwan

Weaving everywhere--at the craftsmanship teacher's studio, on the train, local coffeeshop, the hostel's tea table

Lucy Y.N. Wang Ultra Soft, 2025 Viscosity print on paper 11 x 14 inches

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This work was made with discarded household product packaging and other commonly found everyday products, like foil paper, tapes, and double-sided tape film.

I first cut out the discarded cardboards into shapes that remind one of their advertisement. Then I inked and printed the plate with viscosity method, a multi-color printmaking technique that incorporates principles of relief printing and intaglio printing, with the helping guide of Michael K. Williams who developed this technique along with his colleague Krishna Reddy.

What I cut out from were tissue boxes called “Puffs Ultra Soft Facial Tissue” the ones that promise to be gentle on your nose / face. You only use each piece of the tissue once, one pull, one sniffle, and then poof—into the trash bin. 

I like this rubbish-to-radiant idea, to utilize what is designed for one-time use for creating something that you can hang on the wall and view it for a long time. I guess this piece reminds us when life gives you used tissue boxes, you can still make something pretty cool out of it. 

You can see the process haha. The pale colored one is a ghost print, which I actually like it better!

National Misuem of Prehistory • Taitung, Taiwan

Reading Note: The Emergence of Women's Style in Late 1970s and Early 1980s Glasgow

In the late 1970s and early 1980s in Glasgow (UK), women adopted style as a crucial tool for self-expression. This emerging aesthetic was a direct response to the transition from the post-war era—marked by municipal projects and social unity—into an age of postmodernity. This new time was marked by the rise of new media technology and a globalizing trade in consumer goods.

This shift was particular in Glasgow, a city traditionally defined by heavy industry like shipbuilding, which was now in steep decline. As men faced rising unemployment , women, who previously held a more domestic role adapted by taking up new jobs in the retail, culture, leisure and administration sectors.

Faced with an unprecedented array of consumer choices and a shifting economic and social role, styling one's outfit became a layered form of resistant, embodied, biographical expression:

Memorial: Style served as a way to memorialize the old times and bygone ways-of-life.

Resistance: It offered a means to negotiate and resist enduring social stigma and deflect how others might simplistically define them.

Reverie: It allowed women to embody reveries for new political futures and fantasize a higher social class.

The word style is different from 'fashion'. Fashion means something seasonal, timely and often used in the commercial realm. In contrast, style comes from the Latin word stylus, which means the nib of a pen. This etymology implies a deeper meaning related to writing, narrating or "self-telling", suggesting a more inner, personal and self-generated manner of expression.

In this period, identity moved toward a "life-style," which women could curate through consumption. This was a break from adhering to expectations previously determined by infrastructures of place, class, gender, or race. Style became a means to gain an agency over how they were seen in the public sphere and an identity.

reading: Draycott, Esther. Depth and surface: women's style as memorial, resistance and reverie in late 1970s and early 1980s Glasgow. PhD Thesis, Glasgow School of Art, 2024.

I love the look of these shoes, wondering how to make one myself

This set of apparel, "Sailor costume and matching pair of shoes for children" was made in the mid-twentieth century. The idea to dress up kids in a sailor uniform came to us originates when Queen Victoria dressed the Prince of Wales, the future Edward VII, in a Royal Navy sailor's uniform. The German painter Franz Xavier Winterhalter immortalized this in a painting in 1846. It then became an essential part of children's wardrobes for Sundays and the days after communion in wealthy circles.

One feature of the clothing is that the dots were made of a devouring print method, in which a mordant applied in dotted lines has removed the blue color and revealed the white cotton fibers.

Image credits:

Frans-Xaver-Winterhalter-Kind-Edward-VII-1841-1910-When-Albert-Edward-Prince-of-Wales-1846-Royal-Collection-Trust-©-Her-Majesty-Queen-Elizabeth-II

Souvenir from walking: ​​​​​​​Where I Was When I Was There (Part I Story & Part II Note), 2025; artist book, 10 x 7.4 x 0.5 cm

I created this book in 2025. Most of the photographs were taken in New York City during the COVID-19 pandemic, though the large poster photo was captured more recently. During that period, I felt a deep sense of confusion. I began taking photos during my daily walks through various neighborhoods, pausing to capture specific framings within my surroundings.

I later created this book because the act of walking helped me cope with those uncertain times. I wanted to share this experience in a format that others could replicate, much like a DIY project. I imagined that it can serve as a template for activities that bring awareness and appreciation to our neighborhoods—perhaps through a walking tour workshop where an expert shares stories about the area, or simply as a mindful activity for any walker.

It is about the joy of recording what is seen and transforming that experience into a tangible form, such as a zine, to keep as a memory or share with others.

The design of the book is like unfolding a puzzle; the viewer traces the winding experience of a walk by flipping through the pages. The experience is linear as one follows words from page to page to form phrases and a poem. Following the poem, the reader spatially navigates the book, turning from one side of the paper to the other. This act of reading pieces together fragmented frames to form a complete image. The process simulates the walk itself, mirroring the concept that inspired its creation: providing a sense of mindful movement while offering moments to embrace each turn and transition.

I took this photo in Rishikesh, India, surrounded by mountains. My yoga school classmate told me, "We’re surrounded by Shiva!" Shiva is a god in Hinduism who abides in the mountains. Also called "The Destroyer," his destruction is about transformation and making space for new beginnings. Shiva isn't just a deity but a pervasive energy that permeates the natural world.

Printmaking - cyanotype / etching / linocut

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Night Sky in Seattle

I haven't seen her,

for maybe three or four years.

I've always wished to live with her.

We'd have endless talks and laughs,

about everyday things,

sharing interesting moments,

or funny things we encounter.

If there are different dimensions within space and time,

we'd be on the same delightful wavelength,

seeing the humorous sides of things.

We met up at a music concert hall in Seattle.

The orchestra performance,

though I don't exactly remember what it was,

wasn't even that good,

but we enjoyed and appreciated the entire show.

Then, at the top of the Needle Tower,

the sun or the moon was so big and round,

that I couldn't tell which was which.

Both got a warm comforting yellowish orange hue,

saturated in the cold air.

Maybe it was the sun,

as it held the moon right above it,

and slowly descended into the horizon.

Very far from us,

yet huge in size.

I haven't seen the sky like this with her.

I wonder how often that special moment happens,