NFT: The Dawn of Our Tokenized World (Crypto Wonderland 2051)

NFT: The Dawn of Our Tokenized World is a speculative exhibition set in the year 2051, about the rise of NFTs in the early 2020s.

It is a web 3D experience in which player can move around and explore the fictional museum Crypto Wonderland, the architecture of which is specifically built for the narrative of this exhibition. 

Working with a mixture of selective documentation of real NFT events and speculation over possible NFT scandals or incidents, this project invites the player to reflect on what kinds of value NFTs bring to our society, and prompts the audience to imagine where we are headed with the increasing convergence of the virtual and physical worlds.
speculative exhibition

collaboration with Miguel Opeña

︎︎︎ direct to exhibition

Notes Before Departure

scent collection

a collaboration with Sam Vasen and Megan Pai


Suburban Backyard

castoreum, black pepper, corander, mountain air, lavender
Obligated to throw a pool party for neighbors but you forgot to add chlorine so no one can swim. Everyone is standing around, deteriorating under the prevailing overcast.


Himalayan Medicinal Candy Shoppe

peppermint, orange, cedarwood, furikake, clove, coriander
Stand at the entryway. The air is thin outside, but go through the door and you will be engulfed in bliss and tradition. Like a kid in a candy store.


Interspecies Essence Convention Hall

true animal, castoreum, musk
Every year, all worldly creatures gather in this convention hall for a day of essence competition.


Cozy Swamp

amber, eucalyptus, oak moss, juniper, sage
A moss couch nestled under a willow. As night draws near, sink in and listen to the sounds of the Swamp come alive.


Insect Palace

myrrh, frankincense, vetiver oil, castoreum, lemongrass, grapefruit, fern
A crystal palace hidden under the leaves. Insects of all colored patterns fly, scuttle, writhe, crawl and dart in to meet their collective queen.


Fairy Restaurant

fern, amber, mountain air, petitgrain oil, origanum, eucalyptus, oak moss
Wafting from the back garden adjacent to the outdoor seating. Food is served on smooth pieces of slate and the wait staff have a twinkle in their eyes.


Botanical Garden on Mars

frankincense, wormwood, vetiver oil, fern, cananga, peppermint
What Mark Watney would have hoped to create. Life thrives but not in ways we understand. Less about cultivation but more trying and failing to tame the wildness of Space.


Glittery Dimension

coffee, cedarwood, buddhawood, tea tree, tarragon oil
Float through the neon void tingling all the way. Watch out for stray turtle shells that monotonously float past.

Installation View


affective computing technology proposal

Briana Macedo, Bubble Lui, Wendi Yan


UI design

Cerebral Cybernetics, Inc.



download game 

At Cerebral Cybernetics, Inc. you have a chance to create a better life for yourself. Not everyone starts at the same place, but you may as well do what you can to get ahead. 

Within the walls of Cerebral Cybernetics, Inc., you will view and purchase cybernetic enhancements that are backed by scientific research. In doing so, you may choose how you will live the life you haven’t even begun yet. Will you enhance your chances or leave it up to fate?
collaborator: Matt Trotter

Cerebral Cybernetics, Inc. is an interactive 3D environment where players navigate through a shop for fictional cybernetic enhancement products. Items range from beauty products for brain lobes, to more advanced technologies for modifying the size of one’s amygdala. Each player is given a set amount of balance that doesn’t allow them to purchase every item -- now the question is, what do you buy or not buy with a limited budget? Each product is provided with a description of its functions and side effects. And upon each entry to the game, the player is given a different amount of money that would influence their shopping experience.

Cerebral Cybernetics, Inc.
challenges the players to generate their own stances on cybernetic enhancement, cyborg technologies, and human’s long quest for perfection and transcendence.

Product List


Ento-Techno Futures

AR filters
2021 3-4

link to my Spark AR portfolio

:Ꮻ : Ꮻ:

Too often, face filters change the shape of our nose, the size of our eyes, and manipulate our facial features in other ways that are subtle enough to imply that it seeks to make us beautiful in a certain assuming standard. When too many filters do the same things to our face, and thus fit us into similar beauty standards, however, we must ask: can we imagine some kind of beauty outside of these boxes?

Ento-techno Futures is a series of AR filters that explore the concept of alien beauty. What does it mean to be beautiful while being alien and powerful? Combining the visual elements of insects and technological agents, and with no specific gender as targeted audience, these filters place their users not within the existing beauty norm, but somewhere new, somewhere outside. Not only are no facial features manipulated, but on top of that, shapes, colors, structures and interactive components uncommon to our daily beauty practices are generously applied to the user’s head.

Unlike other animals or plants, insects are conceived in our cultural imagination as alien and extraterrestrial, as their ways of perception and, in particular, their self-organization are extremely different from what humans have been able to conceive. Thus, the surface features of insects, which connote their perceptive and organizational capabilities outside of our common models, is also placed outside of our vocabulary for beauty. In addition, the futuristic look to Ento-techno Futures places the users in a different place in the timeline, to positively imagine a different future. 

The format of AR filters allow a broad audience base to interact with the art by seeing the art applied directly to one’s own face and head motion. Through this interactive exchange, the audience is encouraged to imagine themselves as an entity set outside of the normal beauty standards.

We can’t delete other people’s filters -- nor should individual creators be accused for their creations that contribute to a norm. It is the unbalanced representation of beauty standards on the global scale that is the issue. Ento-techno Futures contributes to the tearing down of singular beauty norms by precisely participating in the same platform as where those norms achieve their power: namely, social media filters.

:ċѧṭєяƿıʟʟѧя ċяȏẇṅ

ṅıɢһṭ ѧṅṭєṅṅѧє

ṅєṭ-ẇıṅɢєԀ яєƿʟıċѧ

ɞȗɢԀяȏıԀ Ԁєċʟѧяѧṭıȏṅ

The Courtyard


documentary feature in development

Breakfast is Here

short film
This short film was made during the filmmaker’s mandatory quarantine in Shanghai, after she flew from New York to take remote classes as an international student. Focusing on the quarantine workers in white PPE, the filmmaker portrays an almost sci-fi room service experience in the covid pandemic.

When Nothing Mattered

music video

music | Damian Rodriguez
animation | Wendi Yan
editing | Damian Rodriguez

Looking At You


interactive web film
TouchDesigner, Blender, Unreal Engine 4, photogrammetry

Looking At You is a web experience about the artist’s inner journey with the particular loneliness augmented by the ongoing pandemic and increasing hostility between the two nations she considers home. Combining 3d modeling, experimental video, animation, projection and text, Wendi made a web “film” that chronicles the questions she’s been asking herself and the reconciliation she reached towards the end of her residency and her time quarantining alone: “how have my escapist activities intensified my loneliness? How can I stay connected with reality if I am only interacting with others through screens? What do we do if it is fundamentally impossible for humans to feel complete empathy for others?” Looking At You was created alongside nights of musings on these questions. Through this short experience, Wendi invites the audience to join her in thinking about loneliness in this isolating time, and she hopes this work could help some feel a bit less alone.

For a better experience, the artist recommends you open the project link at night on a laptop or desktop.


Ableton, TouchDesigner
projected onto the blinds in my airbnb

made on the 100th day of staying home



         How I feel, trapped in my consciousness                           


virtual environment created with Maya, Substance Painter, and Unreal Engine 4

when self-expression is manufactured and capitalized


Super Free Will


Blender, Maya, Illustrator




“No city is more inclined than Eusapia to enjoy life and flee care. And to make the leap from life to death less abrupt, the inhabitants have constructed an identical copy of their city, underground...

“They say that every time they go below they find something changed in the lower Eusapia...And the living, to keep up with them, also want to do everything that the hooded brothers tell them about the novelties of the dead. So the Eusapia of the living has taken to copying its underground copy.

“They say that...actually it was the dead who built the upper Eusapia, in the image of their city. They say that in the twin cities there is no longer any way of knowing who is alive and who is dead.”

                                                                                        --- Italo Calvino, Invisible Cities



Business Today Illustrations

Spring 2019
Intel and Esports: Staying on Top

Fall 2018
Belt and Road Initiative

Alternative Book Covers


Architecture of the Apocalypse





Gallery for Moses

duration: 1 mo

thesis: extreme views of falling and power exchange

Spatial Relationship Study

duration: 1.5 mo

thesis: dualities in unity

The model is mainly formed through two triangular volumes that are connected by lines. Similar elements (2 “L” shaped planes in different sizes, as well as a hinged rectangle with windows) mirror each other diagonally across the front and the back.

I used two sets of axes that are 45 degree apart, and employed the two thin, straight lines from the given elevation as two guiding lines of the model, forming an “x” at the center of the plan. The front side follows the elevation plan, with most of the rectangles being planes turned by 45 degrees to the same direction. Looking from the top, the turned plans become lines, while originally hidden “ribbons” reveal themselves as they run from bottom to top, or top to bottom, connecting the two major triangular volumes.  

In addition, I sought to develop my architectural language by forming volumes with minimal planes that connect with each other at corner points, and I explored the hinges in particular.

The model presents different levels of solidity and opennessat different angles or from different sides.



duration: 1.5 wk

site: under the highline,

w. 22nd street at 10th avenue, south side of the street

a parallel experience with what’s above the High Line

a contrasting texture with the structure of the High Line

dark v.s. bright
heavy v.s. light
industrial v.s. organic

around each opening are recordings taken from above the highline

each sound/recording drifts in and out of the visitor’s ears as the visitor move in and out of th

e circular openings

in the middle of an opening, the visitor hear the symphony of all sounds, just as one hears on top of the highline

Mitla in Chaos


Arquetopia Residency
Oaxaca, Mexico



2018.10 - 2019.1

plaster, wood, staples, fabric

The Drifting World


In exploration of the relationship between the individual and the collective, this experimental video juxtaposes zoomed-in visual spaces of bubbles, cooked rice and melting wax, with sounds gathered from public urban settings like in the trains, subways, and on the roads. 

link to video

Lost Luggage of Soul

printing ink, plaster, Super Snow, acrylic
24 in. x 36 in.

I experimented with directly painting feelings in this piece. Through mixing plaster and Super Snow, and adding thick ink to the mixture, I created three-dimensional textures on canvas. I played around with creating tensions between black and white, blocks of color and granularity, immensity and triviality, and gravity and lightness. I hope to let the painting deliver, though only as a tiny fraction, an experience of awe.

Souls can't move that quickly, and are left behind, and must be awaited, upon arrival, like lost luggage.”
        ― William Gibson, Pattern Recognition



These paintings, done in the same summer, collectively reflect my feeling for the world: individuals floating about in the vast wave of the collective. 

The Architecture of Awe

independent research at UPenn’s Positive Psychology Center, with guidance from David Yaden
Neuroscience informs design, now what? Towards an awe-inspiring spatial design

published in Conscious Cities Anthology 2019: Science-Informed Architecture and Urbanism

Awe-inspiring spatial design
-- with examples from art and architecture

visual supplement to the research





Let’s Care About Starving Artists

[pdf] [solution]
Princeton Puzzle Hunt 2019
Meta 2


Photo Album

[pdf with solution]


Calligraphic Cures

Phillips Exeter Academy Puzzle Hunt 2017
Meta 5



This was an essay I submitted for my creative nonfiction class.

I wrote several sections that could be read in any order. Topics of the sections ranged from mobile game, contemporary art, to theoretical physics and buddhism.

The sections are all about similar concepts around “drifting” and use similar languages about heaviness v. lightness. 


Odi et Amo


Santa Hats


Two friends and I put up 70 santa hats around Princeton campus, the last night before winter break started. 

Pop-up Installation


My friends and I collected cardboard boxes from the school’s mailroom, and made two half-arches in the main academy building.