My current practice aims to propose visualized examination of psychological landscapes. The landscape can be emotional responses of past events, day-to-day life and various encounters with our material world that had left an impact on our minds. I’m interested in how these internal traces can be transformed using artistic language. By mixing symbolic cultural products and hand-made objects, calculated arrangement of objects work together to deliver a scene, which can hopefully trigger reflective feelings or thoughts. Initial sketches had been drawn before making and sometimes can be plain to the eyes, however, the revaluation of impulsive decision-making, followed by a comprehensive assessment after making, gather as a trio that makes up a developing personal method of making. It balances out the blissful nature of sentiment that heavily involved and, a lot of times overpowered the process of unfolding projects. For me, learning to identify the self-maintained logic of producing is a good way to understand characteristics of the work that are adopted by feelings. How can feelings be displayed? Why a specific appearance of things or ways of setting up installations can bring up a certain feeling? I want to make an effort to decode layered relationships between objecthood and feeling. A universal understanding can be achieved when artistic means of describing private feelings and making right choices of visual signs meet. It can create a common ground for both physical cultural goods and psychological ones to co-exist. The private matter then comes to the surface and becomes a recurrent subject that appearances of artworks can elaborate. Such place also functions as a device of emotions for others to resonate, misunderstand or dismiss.