Working Hands Series, 2024

‧₊˚ ⋅ 𓐐𓎩 ‧₊˚ ⋅

Watercolor & Prismacolor on paper

⟡🍽️₊˚⊹♡

11” x 15”

‧₊ 𓎩 ‧₊˚ ⋅

Working Hands Series, 2024 ‧₊˚ ⋅ 𓐐𓎩 ‧₊˚ ⋅ Watercolor & Prismacolor on paper ⟡🍽️₊˚⊹♡ 11” x 15” ‧₊ 𓎩 ‧₊˚ ⋅

  • Rolling Profit

  • Oiled Earnings

  • Net Worth

The Working Hands series focuses on local Indonesians in Jakarta. Intentionally unfinished compositions allow the viewer to imagine the scene while keeping the focus on the importance of the people and the rich diversity of the products that they prepare and sell. The selected focal points are detailed using Prismacolor, celebrating the humanity of these individuals and the honest livelihood their work delivers. 

Rolling Profit

A street vendor pushes a large cart of fruits and vegetables in a rural neighborhood. The seller’s joyous facial expression signifies the happiness that a simple and honest life can bring.

Oiled Earnings

A local vendor cooks ‘Kerak Telor’ in the heart of Kota Tua (a heritage tourist site). The subject sits on a small and uncomfortable plastic stool, preparing a local delicacy. The cloth around the seller’s neck is used to wipe off his sweat in the tropical heat. This illustrates the locals’ dedication to upholding Indonesia’s rich cultural identity despite the unglamorous nature of such humble occupations.

Net Worth

Up bright and early, the fishmonger meticulously sets up her seafood stall at a traditional wet market. The orange Band-Aid on her thumb shows the occupational hazard of slicing and preparing her products on a daily basis. Once her daily composition is prepared, the impermanence of her hard work is reset each morning to showcase her craft and offerings.

Bonewood Bay, 2025

Charcoal on paper

30” x 24”

The nature of charcoal, a once-thriving grapevine, reemerges in a renewed form to portray a desolate scene where life meets mortality. The irony of this work calls into question our societal relationship to the environment and our exploitation of it.

Boats & Bills, 2025

Charcoal on paper

19” x 14”

This deckle-edged photograph observes an aging fisherman caught between the physical labor of his trade and his need to survive. The boat functions as his office as a means of income, which is contingent on the uncertainty of his daily catch. His dependence on the delicate balance of his daily voyage determines whether he is successful in the marketplace or not. 

Fishing Tycoon, 2026

⋆｡𖦹 °.🐚⋆❀˖°

Laser-cut plywood, magnets, string & polyurethane

𓏲🐋 ๋࣭  ࣪ ˖✩࿐࿔ 🌊

1.5” x 8” x 4”

Fishing Tycoon, 2026 ⋆｡𖦹 °.🐚⋆❀˖° Laser-cut plywood, magnets, string & polyurethane 𓏲🐋 ๋࣭  ࣪ ˖✩࿐࿔ 🌊 1.5” x 8” x 4”

Shared Table, 2026

Clay, acrylic & polyurethane

2” x 11” x 7”

By observing a lichen under a microscope at RISD’s Nature Lab, I have explored the abstraction of the organism’s intricate microstructure and introduced function by creating stackable chopstick holders. The symbiotic relationship between fungi and algae reflects Chinese values of harmony and reciprocity. Communal Chinese meals are a central part of cultural engagement that emphasizes the individual as part of a greater whole.

Japan’s invasion of China in WWII led to the mass migration of people like my grandparents, who spilled into Indonesia like fragments depicted in this broken bowl of soup. The echoes of my grandparents’ stories and how they survived eating Bakso Kuah (meatball soup) during hardship are relived through my childhood eating these dishes with them. Ironically, this humble dish has become a treat for my sister and me. Bakso Kuah is often served in a rooster bowl, a popular design in Indonesia; however, I recently discovered that these bowls actually originate from China, evidence of the significant Chinese influence on Indonesian culture.

Origins of Culture, 2024

4" x 20" x 12"

Acrylic, markers, epoxy, clay & embroidery beads on canvas

Where Does Our Plastic Go?, 2025

ꕤ｡˚⋆

Laser-cut paper & plastic

.𖥔 ݁ ˖𓂃. ✤ ݁˖

8" x 14"

Where Does Our Plastic Go?, 2025 ꕤ｡˚⋆ Laser-cut paper & plastic .𖥔 ݁ ˖𓂃. ✤ ݁˖ 8" x 14"

This accordion book transforms plastic pollution data into an interactive pop-up that invites viewers to unfold the issue physically. Lace overlays the surface, casting shadows that act as a metaphor for how plastic pollution in Indonesia is often obscured and ignored. 

Best Before, 2025

Prismacolor on raw canvas

40” x 25”

This observational piece with two different types of cookies on crinkled canvas imitates parchment paper and explores various light qualities and how they affect realistic depictions and the deliberacy of mark-making to emphasize texture and variation of the cookies.