This piece reimagines the familiar childhood fear of the “monster under the bed” as a symbol of how our understanding of fear changes as we grow up.

After creating a coming-of-age drama (𝘈𝘭𝘭𝘦𝘺𝘸𝘢𝘺𝘴, 2025), I wanted to expand my filmmaking skills. Living in the Bay, it seems impossible to escape the push of seemingly sentient AI.

This series of poems embodies the dreamlike nature of time, existence, and memory.

This piece is part of my sustained investigation for my AP Drawing class.

My ceramic Stewie Griffin piece reflects my sense of humor and my love for Family Guy.

‘The Pursuit’ is the second piece in a diptych detailing the journey of my original character Maeve.

This photo began as an unplanned moment.

On the island of Mo‘orea in French Polynesia, pressures of modern life have forced many indigenous Māʼohi families to rely on tourism for financial security.

Oftentimes, when I think about history, I find myself assuming that the events of the past are divorced from the present, confined to my heavy textbooks.

This photo was taken on an especially foggy and damp day the beginning of fall.

This digital self-portrait explores the contrast between how I define myself and how others label me.

I spent the last summer in DC where I was living by myself.

Jellyfish have always been a significant part of me.

A moment before dusk where I capture the beauty of modern vehicles.

This photo uses a construction setting to represent the reality of growing up.

This was part of my senior portrait series.

At the end of the Bui Vien Walking Street, Vietnamese lanterns are hung, illuminating the surrounding darkness.

To me, childhood looks like raspberries.

After a morning of heavy rain, I stepped outside hoping to photograph pooled water on leaves or flowers.

This piece was a shot that I captured for a project in advanced studio-art photography, and although it seems silly, I feel as though their are some deep themes within my photo.