“Take the biscuits” is the chapter one of the Unknown Beings.

Having grown up in Taipei and currently residing in London, I have intermittently returned to Taiwan over the years.

Sandwich Biscuit is an ongoing post-photographic project that uses recursive image-making, iterative reproduction, and digital reconstruction to interrogate how identity is dismantled and rewritten by cultural symbols and systems of viewing.

This project started with exploring the possibilities of wood.

Sustainability is the goal of all of us designers, I focus on the objects and jewellery of our lives, small objects that are often plastic, disposable, easy to lose, industrial, which often require mass industrial production, and I think about the waste of materials and the pollution of the environment that is caused by the behaviour of people who lose and buy them over and over again.

This series of installations, crafted from porcelain, seeks to evoke a sense of delicacy and fragility inherent in the material while exploring the diverse possibilities of hard substances.

“Time is never a linear pattern, it blooms in its own time zone."

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This project explores how clothing serves as a medium for expressing personal identity.

The inspiration comes from the plants’ cells experiments done by a witch in her laboratory.

“Interspecies conversation”

This collection brings together several works exploring sea creatures through hand embroidery, all of which are newly created for this exhibition.

In my project, I draw attention to the processual nature of ceramic material, understood as its ability to shape itself, to become, and not merely to reflect the creator's intentions.

Places holding memories - Memories holding places

Closer Collection - Dialog Between the Jewellery and Human Body

Taxonomy of a Straw Bundle is a material-led investigation into rye straw as a hyperlocal, regenerative material.

Shavings Column is a luminous object where thin wood shavings form a fragile skin around a transparent core.

My 3D-printed work explores my dialogical relationship with clay by examining how somatosensory experiences shift when transitioning from making by hand to a technological approach through the lens of neurodivergence.

I replace the physical, numerical, tangible meaning of the word weight, with its figurative one, more difficult to quantify because of internal and external reasons.

“Barren: A wasteland, devoid of life, bleak and fruitless.”

The Hollow(core) Bench is part of an ongoing body of work exploring how objects can register human presence and carry emotional trace.

Bees have been called the most important living organisms on Earth.

Phygital Landscapes of my Youth is a window into my upbringing amongst the varied terrain of California.

“SOLAR-“ examines how large-scale energy infrastructures reshape landscapes and cultural memory.

This collection of three mirrors explores reflection not as faithful representation, but as an encounter with light and material.

The Terrazzo Jewellery Boxes are part of my Terrazzo Collection, made from coloured porcelain with hand-finished terrazzo patterns.

Vessels 001 comes from a series of punch needle textile works exploring containment as both form and metaphor.

The Timbre collection began with a technical challenge: how to create a continuous 360° wavy joint using contrasting timbers.

The Takhat Counter Stool continues my exploration of weight, memory, and material responsibility within my collection The Alchemy of Our Fibres. 

ECHOES  is a handwoven steel wire sculpture inspired by the traditional Sardinian Mamuthones masks.

Apricity is a collection of sculptural porcelain lighting inspired by the Latin derivation of this word, meaning “the warmth of the winter sun”.

TSUGI is an ongoing textile series that examines how traditional weaving can continue across shifting cultural and material contexts.

Perpetual Ash: Smoker’s Lung, transforms cigarette ash, often associated with disgust and insignificance, into intricate glazed vessels, challenging perceptions of value and revealing the potential within what seems like ‘nothing’.

This collection explores material memory through glazed porcelain forms defined by tension and precision.

This collection explores how fibre can behave like terrain, holding pressure, shifting under tension, and revealing slow, geological transformations.

The preliminary printing of this series was completed in collaboration with master paper maker Petra Fuzes at the Paper Mill Orfu.

In my response to designing for Verdi’s opera Un Ballo in Maschera, I decided to focus on textures and materials; letting their visual and symbolic properties lead the design.

Future Human Connectivity Devices discusses how human relationships may change when technology increasingly prioritises efficiency, convenience, and automation.

This collection originates from a personal observation: that the remnants left behind in the process of making felt more significant than the finished work itself.

Antaral: 80 hours between breathes 

Disturbance is a sculptural installation comprising carved yew forms and cast pewter elements.

This project presents a series of brooches (approx. 7–13.5 cm) combining silver and aluminium through traditional handcraft and modern industrial techniques.

This collection reimagines traditional colour thread warping as a contemporary surface practice, transforming textile process into sculptural form.

Our Collective Wisdom is an ongoing series of textile works that investigates how language can be experienced through time and material.

This project is a collection of small-scale furniture made from reclaimed materials and modular ceramic components.

The Buddha cameo within this leaf-shaped pendant functions as a pan-ancestral vessel rooted in East Asian cultural cosmology.

Silver fork pendants and necklaces rest within a translucent frame, as the pendulum of time swings.

This contemporary jewellery collection explores memory, material, and invisible labour through transparency and trace.

Desire–Healing Landscape investigates desire as a fluid energy of transformation through Eastern philosophy.

Moving to the Netherlands, I encountered the daily presence of condensation on my windows.

In a world driven by technological acceleration, I seek stillness to heal my anxiety of losing position in the world.

Chronostasis depicts time standing still: butterflies resting for a moment, only to vanish in the blink of an eye.

Dream Residues originates from a state suspended between wakefulness and dreaming.

This series explores the meaning of home and belonging from a sense of distance—both physical and emotional.

‘THROWN AND ASSEMBLED’

Missed is a rose petal wall that blends nature and technology—real petals interwoven with digitally crafted metal ones, made through 3D printing and anodizing.

This collection explores the creative potential of upcycling through the transformation of discarded ironing boards into playful, functional chairs.

This project began with a small, personal moment.

This painting marks my first attempt to give visual form to a long-standing emotional state—something difficult to articulate, yet quietly persistent.

Title: Within the Line, Beyond the Snow

This painting is part of Hyunah Koh’s Generative Soul series, where the surface becomes a living ecosystem, a space of transition, transformation, and tactile imagination.

Thing in Itself is a design inquiry into the fluidity of masculinity and identity, articulated through a reversible tailored suit with multifunctional structures.

Celestial Stones Collection

This collection features two works from my ongoing Hwado series and two new pieces from my emerging Sea collection.

Glass Dunes

This project began with my struggle with insomnia.

Latent RADDicals is a design research project and exhibition exploring Resource Availability Driven Design (RADD), a workflow for building with unpredictable, discarded materials like wood, stone, and architectural waste. When conventional manuals don't exist, we turn the unknown into a design driver.

"From Dust, To Dust" is inspired by dust, which is both material and infinitely close to nothingness, and is the "breath of matter".

This collection reflects a personal journey of reconnection—with nature, with self, and with emotional freedom.

Using a two-channel video narrative mode, we try to contrast the situation of fish with the state of human beings.

This collection centres on the seamless mixture of diverse metals—copper and silver—highlighting the unique appeal of handcrafted metalwork.

The boundaries of time are like blurred markers within the flow of time. We live within time as fish live in water-breathing, drifting, like clouds in the sky or ripples on the sea.

The Artisans of Paris is a photographic collection that celebrates craftsmanship and the profound art of creation.

We Have Forgotten More Than We Remember
Found objects and British rush
2025

A poetic exploration of absence and becoming, where fragile roots and hollow traces reveal identity, memory, and transformation within quiet states.

The body of work “On your way home” is inspired by my father’s journey home as a schoolboy in Jamaica. 

This series of artworks encompasses the unconventional application of techniques such as chiaroscuro (sfumato) and etching within digital creations.

As I am moving through different grounds the houses I lived in distort in my memory.

My Scandinavian Forest collection of big necklaces and rings is inspired by and made from the awe-inspiring wild forests and dramatic landscapes of Norway, which we travelled through in our van last summer.

The work explores the threshold between material intuition and metaphysical form.

This project transforms invisible magnetic flows into visual, sonic, and spatial experiences, challenging our perception of reality and social order.

Dionysian City is a project grounded in in-depth research and immersive fieldwork across London.

‘Rhapsody in Brass’  is a personal and expressive jewellery collection that explores the intersection of music, memory, and making.

In 2021, Ohata developed a method for creating artificial skin textiles embedded with their own skin texture, first showcased in a Haori jacket referencing Hyakkiyakou Emaki, a historic Japanese scroll depicting Yōkai folklore.

Out of Focus, In the Moment is a visual poem that pays tribute to warmth, movement, and mystery.

Part I, ‘Find Shan-shui in London’ : London’s skyline is translated into shan-shui ink panels; 1-point laser surveys set the geometry, while dilute carbon ink maps human scale against steel “mountains.”

My collection FLOW explores water’s many states—fluid, solid, mineralized, reflective—as metaphors for emotional transformation, adaptability, and resilience.

This series explores how we can healthily cope with pressure—especially when no one teaches us how.

The Learning Market emerged from a personal process of intuitive construction during a time of social upheaval.

Summer Solstice · Rooted in Transition is a cast-glass sculpture that captures the tensile energy of midsummer’s threshold.

I am a collector of unimportant things.

Stitch is a hand-carved wooden bowl made from two London trees: a black ash tree from Ealing and a plum tree from Camden.

"Unfolding" is a photographic series that delves into the liminal spaces between memory, imagination, and reality.

Unfastened is a performance and material study that explores the act of undoing as a form of embodied knowledge.

“Your Free Nation” explores the fragile, often absurd foundations of nationhood.

This collection explores space as a site of emotional memory, autonomy, and quiet resistance.

ESCAMA is a collection of stools made in collaboration with Virô, a company that collects leftover materials from the scenography industry.

I watched 100 clouds..

This series explores the long-lasting impact of childhood sexual violence experienced by myself and two close friends.

My Shanzhai Theory explores the entanglement of language, meaning, and cultural hegemony through material poetics.