This work employs the methodology of ‘without firing' to create egg-shaped ceramic pieces, aiming to explore the duality of human fragility and resilience, as well as the uniqueness andshared vulnerability of individuals. Central to inquiry is the question about human fragility and how the confronting of our fragile selves can lead to renewal. It uses clay as the material, shaping egg forms of varying sizes, symbolising different people. It embodies the relationship between hand and clay – hands represent external pressure, while clay symbolises humans, suggesting that human beings can be molded into different, unique individuals by the pressure around them. A main idea of this work, which externally resembles hand-built pieces, internally reveals wheel-throwing techniques; they are harder to break than expected, mirroring how humans are fragile yet stronger than they imagine, while allowing viewers to write their fears on the surface before breaking them to symbolise a new start. 

This project is a card game design aiming to let players experience the challenges and difficulties faced by janitors. 

One striking news story involved a bustling shopping mall on a rainy day where janitors were still required to keep the floors spotless. This illustrates how, in real life, even after janitors complete their area cleaning, numerous factors continuously generate new trash. Consequently, many aspects of the game design favour those who create trouble, aiming to immerse players in the hardships of a janitor’s work. 

This piece explores dissociative identity disorder, a condition so profoundly terrifying that I now find myself unable to face friends who suffer from it. Different flowers represent distinct identity personalities. However, this bust depicts no gendered features, for I believe that not only those with dissociative identity disorder but every individual possesses unrecognised latent personalities, such as varying attitudes and dispositions when encountering different people and situations.