︎︎This project as my final project for my M.A. degree, driven by my lifelong fascination with monsters. The project primarily explores the hidden stories behind various movie Kaiju, aiming to uncover why humans have been creating monsters since ancient times.

︎ Me
︎ Goldsmiths, University of London
︎ 2018

︎ Goldsmiths, University of London
︎ Personal works

︎

This project as my final project for my M.A. degree, driven by my lifelong fascination with monsters. The project primarily explores the hidden stories behind various movie Kaiju, aiming to uncover why humans have been creating monsters since ancient times. It also delves into the symbolic representations embodied by Kaiju and attempts to envision what Kaiju might have looked like in 2018. In pursuit of these goals, I drew inspiration from Susan Sontag's article, which explores the relationship between science fiction movies, society, and the enduring fascination with dinosaurs and monsters.

As a culmination of my research, I created a 15-minute film and an accompanying essay that reflect my findings. Additionally, I produced printed works that provide further support for my exploration of Kaiju research.

I have titled this 15-minute film "The War of Millennium," drawing inspiration from a fascinating internet legend. According to this legend, a monumental conflict with extraterrestrial beings occurred in the year 2000, ingeniously crafted to deceive individuals born after that year into believing its authenticity.

The film, titled "The War of Millennium," takes place between 1999 and 2000, coinciding with the initial introduction of the internet to the general public. Building upon extensive research on fear and inspired by Douglas Adams' work, "How to Stop Worrying and Learn to Love the Internet," the film aims to showcase the audience's apprehensions and concerns about the internet. The Kaiju element serves as a metaphorical technique to symbolize humanity's collective fear of the internet. Through this approach, the film takes the form of a Kaiju documentary, providing a unique perspective on the subject matter.

I utilized an abundance of Chinese characters, scanning them meticulously to preserve their authentic textual appearance. These Chinese characters symbolize different facets of fear and are presented in a visually impactful manner at the exhibition in the UK. The large-scale and high-contrast display of these characters evokes a profound sense of unease, effectively conveying the unsettling atmosphere surrounding the subject matter.

To further accentuate the immersive nature of the "mockumentary" film, I have meticulously crafted additional elements that reinforce the film's concept. These include a meticulously curated compendium chronicling diverse kaiju data, an extensive array of DVD discs, and various other supplementary materials.

In order to collect more people’s concern and fear about the contemporary society,  I decided to hold a workshop for the first year MA students. This workshop is kind of like a questionnaires for my Kaiju research to find to how people convert their fear to their own Kaiju.

After a productive afternoon workshop, I gained numerous intriguing insights, including people's fears and apprehensions towards various unfamiliar things. Surprisingly, these fears actually contributed to my ability to enhance the final outcome.

︎︎Schréder requires a visual identity for their multi-functional streetlight,Shuffle, to be used at the European Lighting Fair exhibition.

︎ Schréder
︎ Winchester School of Arts
︎ 2017

︎ Winchester School of Arts
︎ Personal works

︎︎ A historic debut collaboration between Nike and Jordan Brand, re-contextualizing the "Daily Dose" of sneaker culture through the Air Jordan 1, Air Force 1, and Nike Dunk.
By personifying the footwear, we translated the obsessive rituals of sneaker-heads into two cinematic narratives: the "Handshake" and the "Sneaker Barbershop."

︎ Jordan & Nike
︎ NIKE GC
︎ Jul.2024

︎ StudioNOWHERE
︎ Creative Direction / Art Direction / Storyboarding / Graphic Design

To humanize the sneakers, we engineered a personification strategy centered on shoelace movements, defining unique personalities for each silhouette.

The TVC was executed through a sophisticated hybrid of stop-motion puppet animation and CG environments, with key visuals meticulously crafted from cinematic frames.

︎︎ Challenging the sterile, quantified nature of digital red envelopes. Reinterpreting the "BLUR" series as a critique of modern social transactions.

Digital red envelopes have become a "hard currency"—ruthlessly quantified and instantly gratifying. By reintroducing "Ambiguity" through the blurred product, we restored the emotional anticipation of gifting, replacing WeChat's suffocating clarity.

︎ MSCHF
︎ MSCHF CHINA
︎ Jan.2025

︎ MSCHF
︎ Creative direction / Art Direction / Social Strategy

For the art direction of official visuals, we focused on the simplicity of "giving" and "receiving" red envelopes. As digital payments erode their human touch, we aimed to highlight the psychological nuances of these acts, reviving the traditional blessing power of red envelopes.

We opted for a more restrained art direction, as the campaign ultimately needed to focus on the product itself. With social media as our primary tool for promotion and sales, we wanted to leave more creative possibilities in the hands of consumers.

We also created tickers and patterns for the four sneakers, inspiration from street and barbershop elements, designed to be adaptable to various scenarios.

A sequential three-post drop: Teaser, Narrative, and Alert. Synchronized motion elements tailored to each conceptual phase.

︎︎ When one touches the surface of a wall, moving his hands freely, he leaves behind a trail. Although invisible by itself, through time, trails left by different people accumulate and leave behind signs. Then, people who arrive subsequently recognize and touch the same surface, realizing a connection between them and the predecessors that travels through time.

︎ A-COLD-WALL*
︎ Sanlitun Taikoo Li, Beijing
︎ Aug. 2022

︎Personal Works
︎Creative Direction /Art Direction / Design

In this project, we aim to explore the ephemeral connections that individuals feel when interacting with the same wall. Building upon the foundational experience, we want to delve into the sensations and emotions evoked in people who have engaged with the wall.

The overall interaction will revolve around the concept of "different times, same location, and how individuals create connections through traces left by previous individuals on the wall.

To enhance the sense of connection among different users, we have designed two different modes for the interactive experience.