The design reflects the emotional dissonance between innocence and downfall.
While the story follows a man trapped between past and present, the production design introduces a subtle layer of the “hero myth” — seen through recurring props like a mother’s necklace, childhood toys, and an old photo.
These objects bridge timelines, revealing how Louis’s childhood fantasy of being a hero slowly decays into the harsh reality of adulthood. Every space carries the residue of memory — intimate, fragile, and quietly tragic.
Forget Me Not — Production Design Concept
This story turns revenge into ritual.
The killer’s world is quiet, deliberate — every mark he leaves becomes a trace of order inside chaos.His room is not a crime scene, but a reflection of his mind — a place where grief turns into symmetry.
Through texture, light, and space, the design finds beauty in control, and memory in destruction.
None Ai — Production Design Concept
The design embraces chaos as play.
Built within a week, the space became a spontaneous collage of textures, colors, and ideas — a visual experiment that celebrates disorder.
The reversal of order also reflects cultural inversion: mixing symbols, aesthetics, and humor from both Chinese and American influences. It’s messy, loud, and alive — a reminder that design can be serious and fun at the same time.
The Deer — Set Design Concept
As set designer and decorator, my focus was on translating ritual into texture and spatial rhythm.
The set combines raw materials — bone, fabric, fruit, and soil — to create a world that feels sacred yet decayed. Composition plays a central role: the altar and the tent exist as opposites in scale and placement — one commanding order, the other revealing fragility.
Rather than aiming for realism, the design seeks a breathing balance between chaos and structure, alive with imperfection, silence, and the traces of something ancient.
Aphrodite — Set Decoration Concept
The design focuses on the tension between comfort and unease inside an ordinary home.
Every detail — the warm lamp light, scattered books, and soft textures — builds an intimacy that slowly turns heavy. As light shifts from day to night, the space reveals what the characters can’t say out loud.
Nothing feels staged, yet everything carries emotion.
Steel Magnolias — Truvy’s Beauty Shop
As a production designer, I approached this project as a study in space, color, and emotion. Truvy’s beauty shop isn’t just a location — it’s a social world built on warmth, gossip, and resilience.
The 1980s palette of mint green, peach pink, and patterned wallpaper evokes both comfort and charm, while each prop and texture adds a layer of lived-in detail.
I designed the space with camera movement and character blocking in mind, creating an environment that supports storytelling — from moments of laughter to quiet reflection. Though it’s a digital project, every choice aims to make the shop feel tangible — a place where you can almost smell the hairspray and hear the conversations between friends.
SIX — Stage Design Concept
Inspired by the six queens of SIX, the design celebrates individuality and power through light and form.
Instead of recreating history, the stage translates their voices into modern symbols — bold geometry, shifting color, and rhythm.
Each illuminated arch embodies one queen, her story, and her energy, connecting strength with vulnerability.
The suspended hands above the stage represent tension between control and expression — between the gaze and the performer.
It’s not just a concert space, but a visual rhythm where light, shape, and movement tell a story of reclaiming identity.
The Father Whom He Has Never Met-Production Design Concept
Inspired by my father’s story, this project revisits a childhood during the Cultural Revolution.
The design uses place to drive the story — turning each setting into a symbolic point where emotion and history meet. It explores how architecture holds both memory and silence — how a courtyard, a wall, or a dining table can carry the weight of a generation. Through this lens, the traditional southern Chinese house becomes a living witness: it shelters joy, fear, and unspoken grief. Light and space act as emotional language, revealing how the personal and the political quietly intertwine in everyday life.
It’s a quiet attempt to understand the past not through history, but through the spaces that remember it.
American Horror Story — Murder House
This design explores the tension between comfort and unease — a room that feels lived-in, yet haunted by memory.
The space is built around the duality of warmth and darkness: the glow of the fireplace against heavy wood, light filtering through old wallpaper, silence lingering between books.
Every object, from the desk to the half-open door, carries a quiet sense of decay — beauty slowly suffocating under its own history.
It’s less about horror itself, and more about how a space remembers what people try to forget.
Macbeth- Stage Design Concept
The set draws from the architectural language of Macbeth’s era, blending Gothic structure with Expressionist emotion.
At the center stands Duncan, bathed in light — a fragile symbol of faith and order.
Around him, darkness closes in, foreshadowing the kingdom’s collapse and the rise of corruption.
The architecture becomes more than scenery; it mirrors the psyche — arches strain like conscience, walls press forward like guilt.
This stage is a “spiritual cathedral” built from ambition and fear, where light and shadow become silent witnesses to downfall.