This is a charcoal piece I did depicting a still life composition that I organized myself. In it is a man's head surrounded by various items including a vase of flowers, a white glass bottle, a dark glass bottle, and a wooden bird statue. I named this piece "Transparency" to both reference the various glass objects in this artwork, and also to comment on the vulnerability of life when in nature.

During a visit to India, my grandmother showed me something that would stick with me for years: the fragile, elusive touch-me-not plant, scientifically known as “mimosa pudica.” Its remarkable self-defensive mechanism, where it curls its leaves inwards when touched, resonated immensely with my own tendency to avoid conflict. Growing up, I often found myself conforming to others, much like the touch-me-not expends energy to withdraw from predators, and later realized I should stand up for myself more. My artistic journey captures my transformation of this mindset, symbolized by the relentless ocean waves threatening to wash away the touch-me-not. Since I’ve always been intrigued by the ocean's ability to erase and shape the shore, I juxtaposed this ocean with the ethereal touch-me-not, creating a scene that encapsulates the serenity of moving on from past ideals. My work also reflects my fading connection to my Indian heritage, with waves of change symbolizing the cultural deterioration my American environment causes. Every time my parents and I engage in a “puja”(prayer), which I am named after, a small part of me feels that the act is foreign. Whenever my parents speak of Indian delicacies from their childhood, it all just feels like nostalgia I had never known. My art helps me explore my identity in ways that words simply cannot, with the sublime quality of my work mirroring the beauty I find in it. My artistic process, above all, encapsulates my multifaceted personal growth, cultural identity, and the shifting tides of life itself.

“Double, double toil and trouble, fire burn and cauldron bubble" references intense strife, similar to the experiences faced by a recycling center worker. We are currently trapped in finding a way out of climate change, but something people often fall back on to “prevent” it is recycling. However, there is a gravity of simply reusing: the items sent to these centers are physically sorted into what can actually be recycled by humans, who have to endure toiling hours and the constant screeching of scraping metal and clanking glass. The difficulty of actually running these plants are reflected in the blue haze and eerie depiction of “Toil and Trouble”. The indigo coloring of the machinery and containers all point back to the worker, who almost blends in with the rest of the facility. He is unable to separate himself from the clutter, and reverse the mistakes of the thousands of people who have chosen to believe that blindly throwing anything into a recycling bin fixes climate change. And the pile of what seems like trash is the centerpiece; the viewer’s eyes are guided to it by the various diagonals stemming from the corners of the canvas. Its sheer mass and outstanding but complicated color scheme demonstrates the amount of work needed to sort through both the pile, as well as the issue of climate change. With this piece, I convey the dreary gloom of recycling centers, and how we still have much further to go in fighting for our environment.

To walk under the umbrella is a piece I connect deeply to. The girl walks in a world of gloom and a downpour of rain, under her own little pocket of warmth. Underneath the umbrella, away from the rain and staring eyes of the world, she can be anything she wants to be. Her world can be as magical as she can imagine it. An umbrella signifies protection, as the shade of her umbrella takes her to a world where she can be herself and better. Her bright and warm colors overpower the darkness and gloom that surrounds her, pushing aside the murky feelings and pain that come from the real world. I’ve felt the pain and anger that comes from hearing other’s scathing words, and often wished that I could push away the words that torment me late in the night. This painting is the embodiment of the peace I wish I could feel.

In this piece, the numerous working hands symbolize the citizens, who are the building blocks of our community. In the two corners of the artwork are two maps split from one. The hands are pulling interwoven strings connecting the maps closer toward each other. I wanted to show people weave and build the roads and buildings that connect our community. I chose cardboard because it had a tinted brown background, which helped increase contrast and had a default midtone. It also gave me control on where to place highlights, allowing me to add more detail. I used my hands as reference and formed different poses. I used a strong and focused lamp in a dark room when taking reference pictures. After sketching out the hand, I used a light charcoal pencil to block out the shadows, and kept refining the shadows detail with a kneaded eraser, then added in highlights. I then cut ribbons to fit the hand’s lengths, and pasted them onto the paper with mod podge. On a separate sheet of paper, I drew two maps with colored pencil, cut it in half, then placed the two pieces in the top left and bottom right corners.

This artwork delves into the theme of the struggle for identity amid the intergenerational trauma experienced by children of immigrants. The colored pencil portrait of my younger brother grounds the artwork in a personal narrative, with the broken puzzle pieces representing the complexities of cultural identity. The wisps of smoke intend to portray the fragile and often elusive nature of navigating this issue.

Every day I seek ways to express my creativity and gain new experiences. For this year's Mother's Day, I decided to create a woodburning piece that would encompass beauty and strength. I wanted to depict a tiger, my mother's favorite animal, set ablaze as a symbol of the fiery love and protection that my mom embodies. Woodburning, aka pyrography, involves using a heated tool to burn designs onto wood. It requires patience, precision, and a steady hand. To create my tiger, I selected a beautiful piece of cherry, ensuring a suitable canvas. The process began by sketching the tiger on paper, etching the stripes and flames. Next came the transfer. I chose to use a combination of tracing paper and charcoal paper to transfer the sketch onto the wood. Then the burning began. The process of shading and blending required meticulousness, as one wrong move could mar the piece. As I finished the burning, I marveled at every stroke and burn. Each came together to celebrate my mom's devotion to my life. Presenting this woodburning piece to my mom on Mother's Day was emotional. Through this artwork, I conveyed my gratitude and love for her support. The tiger on fire embodied her incredible strength as a mother. Creating this piece for Mother's Day was a labor of love, allowing me to express my heartfelt appreciation for my mom. The beauty and symbolism captured within the artwork ensured a gift that would resonate with my mom for years to come.

My piece is about my experience with my tic disorder. (A tic is an involuntary action or sound. There are many causes of tics, the most well-known being Tourette’s) The collage has a TV-static texture which represents how it feels to suppress tics. The marionette hand and yarn represent how the tics feel like I’m being controlled or like I don’t have any control over my body. The piece is a self-portrait, which further emphasizes the connection of the marionette hand and me.

As a ceramicist, I find joy in crafting art that resonates with people. Thus, my hexagonal ceramic vase, enriched with motifs and a color palette drawn from the heritage of traditional Chinese porcelain, serves as a poignant reflection of the intricate yet captivating experience of the children of immigrants. The hexagonal shape of the vase embodies the multifaceted nature of their existence, bridging the traditions of their immigrant parents with the evolving, diverse world they've grown up in. What sets this vase apart is that this hexagonal form is not traditionally seen in Chinese vases, underlining the uniqueness of the position these children occupy. The Chinese-style glaze, inspired by their rich heritage, acts as a constant reminder of the roots from which they've sprung. Yet, upon closer examination, one will notice that the motifs adorning the vase are distinctly designed, departing from tradition. This deliberate distinction signifies that these individuals are more than just echoes of their heritage; they are dynamic and ever-evolving. In summary, "Heritage in Hexagons" celebrates the uncertain yet enriching journey of children of immigrants, paying homage to their remarkable ability to harmonize the traditions of their heritage, while remaining true to their distinct identities. This piece of art encapsulates their complex yet beautiful experience, tradition and innovation, and honors the rich tapestry of their lives.

When brainstorming for this piece, I encountered three words that guided me from start to finish: identity, difference, and strength. Each time I put brush to paper, I kept these three words in mind, weaving each word into a dynamic performance of color. Harmony in Diversity invites viewers to appreciate the beauty of difference. The central figure, a symbol of individuality, is accompanied by three vibrant fish. Each fish has a distinct energy, but they swim in unison. This piece pushed my limits; it tested my ability to materialize my thoughts. It taught me about myself, art, and diversity.

With this piece I wanted to demonstrate the internal pressure I feel in my sport. I feel so much passion for figure skating, but along with it comes expectations. The ice cracking beneath me demonstrates the uncertainty, anxiety, and self doubt I can feel as an athlete. The figure in full view is me reaching downward towards the cracks. This is a reflection of the empathy I wish others would express to me, in lending me a hand when I feel this way. This piece is also a promise that if I ever see someone struggling the way I have, I will not hesitate to reach out to them.

This artwork reflects the grief and sorrows of an old man. The man is staring into the distance with the destruction of buildings left by an earthquake reflected in his glasses. In 2008, a devastating earthquake hit Wenchuan County in Sichuan, China. The earthquake killed nearly 70,000 people, and left demolished buildings surrounded by rubble. The result of this disaster is captured through the man’s eyes, which carry grief and guilt as he can only watch, unable to help. His glasses symbolize his ability to clearly see the devastation left behind and the lives closest to him lost.

The meaning I was trying to portray through this piece is that love can be both harmful as well as upsetting. I also wanted to play into the idea of read strings of fate, and how people are destined to be together. On the left side, I chose to depict more of a deadly, hurtful love. I did this by making the strings look like they are hurting the hand that it’s wrapped around. On that same side, I decided to add some Heliotrope flowers to the border frame. These flowers are often depicted as meaning love, but seeing as they are a poisonous flower, it felt fitting to use them. On the right side, I tried to depict the string almost causing the person sadness. Maybe they are sad that they are connected to this person or the fact that they could be in love with someone else. The flowers that I decided to put on this side of the frame are called Forget Me Nots. These flowers are also normally depicted with love, but seem to have an undertone of saying that you will not forget them.

Fibonacci Tower is a futuristic apartment complex. The apartment complex is designed to be eco-friendly, with an emphasis on preserving the surrounding natural environment. From an aerial view of the Fibonacci Tower, the beginning of the Fibonacci sequence, 1, 1, 2, 3, 5, can be observed. The Fibonacci sequence, also known as the Golden Ratio is often found in nature and has long been considered the standard of beauty. Overall, the structure is a blend of modern architecture and sustainable living.

The people we grow up with and our families are the ones who influence our world views. My aunt (mom’s sister) was someone I loved hanging out with on our family trips to India; we would make jokes, laugh and have so much fun together. She had the brightest smile I’ve ever seen and a kindness to her eyes, instantly lighting up whatever room she entered. In 2019, she passed away after a tough battle with cancer. In her memory, I created this charcoal portrait; an attempt at capturing her essence and beauty. The creation process of this drawing was comforting and made me feel close to her once again. I imagine her as “The Brightest Star” in the sky, smiling down at my rendition of her. Since we can’t take any more photos of her, I can recreate the ones we have to keep her memory alive. In sharing this portrait, I hope to bring joy and warmth to the viewer, much like the way my aunt did for me.

In my continued investigation of femininity and what it means in the broader context of social norms, the world, and history, I've also aimed to explore what is beautiful to me. Although femininity is typically represented through things like curvature and male desire, I think it can and should be thought of in a more holistic conceptual manner. You can be male, female, intersex, etc., and be feminine. You can be flat, or curvy and be feminine. You can be old or young. My idea of femininity in design does not hold itself in your identity so much as it holds in aesthetics and what you do. As I continue to explore the concept of femininity in design and the world, I hope I can create ethereal works that exude the feeling despite using unconventional subject matter. Creating this set was a labor of love. Although originally intended to be simple pencil-only pieces, every time I turned, it seemed there was a new concept I could work with. Through deep gradations, careful balance of light and dark, and sweeping shoulders, I tried to forge ahead with a new and interesting style full of layering and fun. Making this polyptych was exciting, bouncy, frustrating, and so fulfilling. I hope people can enjoy taking it in as much as I enjoyed creating it.

This piece was meant to show the attachment that some feel towards their religions and religious communities, even when they might be harmed by them. Growing up queer when a religious community is your only community is confusing because you want to fit in conform and keep your people near, but thats just not who you are and who you are doesn't fit into the community.

Aptly named, “Fears” is a sculpture created depicting my worst fears and nightmares. I’m passionate about floriography and the symbolic meaning of flowers, so in my sculpture, I chose to structure the piece to resemble a growing flower; I featured a red spider lily in the center because they are associated with death and permanent endings. For me, “endings” are at the center of most of my fears so I thought this would be a great way to tie together all the fears I wanted to express.

For years, I've wanted to make the Beetlejuice musical version of Lydia Deetz's dress. While the red wedding dress she wears is more popular, I managed to get a couple references for her iconic black dress. I did a sketch to break down the elements of the costume. The skirt is made of 5 different lace patterns, 2 of each type, totaling 10 panels, with a gathered lace ruffle at the bottom, connected by a studded trim. The bodice is flocked dot chiffon over a white cotton lining. The sleeves are gathered chiffon with lace insertion and lace cuffs at the ends. The neck is mesh with a grid and dot pattern. All the lace in this was upcycled and dyed, as I like to reduce the amount of material I use. I ended up making some of the fabric where I could not find some, I made the studded trim with painted studs and satin ribbon, and I made the pattern around the neck with embroidery floss and hand painted dots. While I could have compromised on some design elements and made my life easier, I wanted to make it look as close as I could to the original, which meant getting creative with fabric paints and dyes. This was my first time working with so much lace and chiffon, which was challenging as they are regarded as formidable materials by many seamstresses, but I’m really happy with how it came out.

Inspired by a painting by Bob Ross, I felt that in today's society, the nature in our world is so often neglected. Us humans are always on our phones or computers, oblivious to the world around us. If we just looked outside the window, or hiked a little deeper into the mountains, we may be able to find such beauty like the scenery in the painting. The pitch black color amongst the trees represents how endlessly nature is able to thrive. We should take the time to appreciate this eternal gift of Mother Nature.