With a strong foundation in 2D, Shuyi transitioned seamlessly into three-dimensional design, expanding her practice across immersive formats. Her work combines vivid hues, fluid motion, and innovative spatial structures, often inviting audiences into symbolic and emotional landscapes. “I’m constantly looking for new ways to push the boundaries of my medium,” she explains. “Whether I’m designing a digital environment, modeling a structure, or layering textures on a surface, I’m always guided by my love for color, shape, and motion — and by a commitment to evoking the viewer’s imagination.” Through design, she transforms the intangible into form, giving shape and emotional resonance to stories yet untold.
Her recent project, Untold World, is a series of short visual fragments — a nonlinear dream archive and an ongoing dialogue with the subconscious. The series was born from a period of inner recalibration following the post-pandemic shift in life and work rhythms. Amid the lingering disorientation, new symbolic structures began to form. Influenced by films such as Stranger Things, Dune, Arrival, and Prometheus, Shuyi weaves in themes of alien worlds, origin myths, and speculative futures. Her use of shadowy palettes and ethereal imagery draws viewers into an ambiguous, otherworldly dimension.
The film opens in a vast, deep-blue void, where light and shadow weave silently and memory fragments coil like feathered serpents — carriers of unnamed secrets. A hand bearing a lotus lamp emerges from the dark, guiding a lone figure through a nameless forest, where starlight begins to grow beneath their feet like forgotten seeds awakening in the night. Shuyi uses visual language to articulate the logic of dreams: those deeply real yet irrational landscapes formed where consciousness and the unconscious meet. In such spaces, symbols break free from surface meaning — every act of flight or descent becomes a metaphor for the state of being.
In one sequence, a pair of eyes closes and opens within the folds of time. A crane-like spirit glides across the frame, brushing the skin, touching the softest thresholds of the self — a shimmer of perception flickering between memory and desire, drifting between waking and dream. The film ends with a spiral nebula, a quiet echo of return. Each dream, Shuyi suggests, is a tentative test of existence, a gentle knock on the door of reality — and a silent return to stillness.
As she describes it, “Untold World exists in the blurred threshold between the real and the subconscious — a visual conversation between the self and the external world. It’s a poem dedicated to the inner cosmos.”
The installation format of Untold World is also distinctly personal. Two still-frame images, matching the proportions of the central screen, are placed above and below the video display. This visual layering slows the viewer’s gaze, heightening immersion and allowing the dreamlike rhythm to unfold more organically. On the screen, the human figure appears slightly offset, placed to the right — a deliberate compositional choice that disrupts visual clarity. Some viewers have asked, “Is this a real filmed environment?” That uncertainty is precisely the artist’s intention: to create an ambiguous space between image and sensation, real and unreal.
Untold World is not a linear narrative, but an untitled poem — a drifting stream of consciousness. It invites viewers to release the burden of explanation, to enter through sensation, and to move forward by intuition. Within these unnamed dreamscapes, one may begin to trace the faintest, most intimate connections between the self and the cosmos.
