If you had to pick three life moments that made you who you are today, what would they be?

First, growing up and feeling isolated in primary school made me an observer; it taught me how to read rooms, notice patterns, and pay attention to what’s unspoken. Another pivotal moment was deciding to study abroad in the U.S. and shift my academic focus from psychology to illustration. Most recently, choosing to continue my illustration study in graduate school over a more conventional path as a full-time rental broker was what really gave me the time and space to explore the kind of work I wanted to make.

What’s one thing that most people don’t know about you?

I was trained professionally in opera singing for six years. I later performed as a contralto in an a cappella group and even took part in commercial performances across music halls and theaters.

Do you have a unique hobby or obsession?

I like collecting small pieces of “garbage,” like used press-on nails, all kinds of ticket stubs, napkins used to clean my watercolor brushes, shoe laces, and the like. I keep them in a photo album and look through them whenever ideas run dry.

How would you describe your aesthetic to someone who has never seen your work?

I build my images with layers of fine lines, letting light and shadow take form gradually in the process. I love hiding little pieces of narrative within vast and detailed environments to create a quiet tension between the two. I draw a lot of inspiration from the natural world; close observation of nature grounds the fictional worlds I create in reality. I use dense linework and carefully controlled details to build scenes that find a balance between the fantastical and the restrained, inviting others to slow down and look more closely.

Can you share a bit about the process of creating your winning image, from the initial seed of the idea to the final version?

Zhenhuan is adapted from the TV drama The Legend of Zhenhuan, which tells the opulent yet tragic life of a concubine of the Yongzheng Emperor. Beyond the narrative element, I focused on capturing the decadent aesthetic of the Qing Dynasty and reinterpreting it through large and immersive compositions. The project involved a lot of research into Qing-era clothing, furniture, and architecture, and drew compositional inspiration from Henry Darger’s epic works.

Who is inspiring you these days? Who should more people know about?

I was first inspired by Marco Mazzoni, especially in his dense linework and attention to detail. More recently, Mu Pan has become the greatest influence on my work—the extraordinary intricacies and epic sense of scale in his art continue to move me. I highly recommend his Drawn Epic course at the School of Visual Arts to any future students. His guidance has profoundly shaped my approach since my undergraduate years.

What is the most interesting thing you’ve seen, heard or experienced recently?

I recently took a train to New York’s Coney Island right after a major snowstorm swept the East Coast. Seeing a beach swallowed by snow for the first time felt surreal. The landscape was frozen in silence with few signs of life. Every step I took sank deep into the snow as the cold Atlantic wind cut through me. I could only stay for a few minutes, but the scene stayed with me.

Describe an artwork that you currently have displayed in your home. Who made it, what does it look like, and what do you like about it?

Learning English by Frances Jetter is a piece from her recent illustrated book Amalgam: An Immigrant, His Labor Union, and His American Family in Brooklyn. It’s a black-and-white linocut depicting an elderly woman learning English alongside a younger woman. Beyond the powerful story it tells, I was deeply influenced by Jetter’s masterful printing techniques. I had the opportunity to see her original works in person and her layered carvings are both unsettling and breathtakingly beautiful.

What’s one piece of good advice someone gave you, and who said it?

One piece of good advice came from my middle school music teacher: “Always go extreme—in your voice, your drawings, your choices, and your life.” It’s not something I think would work for everyone, but it’s definitely shaped the way I make decisions.

What is one thing you want to accomplish this next year?

By 2026, I want to write and illustrate a picture book entirely in analogue. Working by hand, page by page will be my own act of resistance in this age of AI.

What is one thing you hope to accomplish in your lifetime?

It still feels too early to set a lifetime goal, but in ten years I hope to publish a heart touching and award winning picture book.

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