A project about portability — the capacity to move mind and body through the world with comfort and ease. Corpo Change proposes the body as a metaphorical changing room: not a fixed site but the most powerful instrument of transformation available to us.

Viewers enter an installation conceived as a modern sacred space — charged by trance music and the presence of ancestral bodies. Drawing on Issey Miyake's notion of "folds to the soul," the work explores how form generates flow, and how a portable comfort zone can centre energy and open space for more confident, self-directed thought. Creative direction, casting, and styling: Ling Huang, 2023.

A marketing research project investigating the tension between Eastern and Western approaches to self-care. Eastern medicine — grounded in five elemental principles (fire, earth, wood, metal, water) — is increasingly appropriated by Western brands, often stripped of its context and legitimacy in the process.

The research focuses on the trend of champi (Indian scalp oil massage) and the market opportunity for a Western-accessible brand practising genuine Eastern self-care. The central concept — Body Garden vs Machine — frames the body as an organic system rather than a mechanism to be optimised.

An exhibition curation exploring what digital culture has done to our relationship with the body. Social media has made it easier than ever to manipulate our image, create new identities, and disseminate those images widely — to the point where we increasingly confuse our physical body with our body image.

The research traces the history of self-care from its 1950s medical origins — where encouraging patients to groom and eat well was a tool for reclaiming self-worth — through its co-optation by colonialism, and into the present, where it has accumulated over 54 million Instagram tags. Exhibited works include Maison Margiela's wig coat from spring/summer 2009 and Alexander McQueen's "Oyster Dress" (Irere, 2003), used as anchors for thinking about the body as material, construction, and site of care.

Cute as social currency — performed softness that builds alliances, disarms, and gets what it wants. This project examines the psychology of cuteness as something sequenced and concealed: the strategic femininity that smiles with intent, and the Western impulse to squeeze what overwhelms you until it breaks.

Photography & Art Direction: Ling Huang · 2023

Directed by the work of Bart Hess and Shai Langen, this research examines how technological advancements and new materials reinvent the human body. Hess's collection Liquified drapes slime and plastic substances over the body, blurring the boundary between material and skin.

Langen's speculative practice — particularly Chimera — visualises a post-humanistic future where bodies are grown, cultivated, and transformed into material entities. Synthetic processes mutate the skin into fungal textures; the body becomes a host for living organisms. These works ask what it means to be human when form is infinitely malleable.

A fashion film rooted in the adolescence of post-war Armenia, the passing of knowledge across generations, and the body as language. Influenced by Pina Bausch's use of dance and natural instinct, the film explores fragmented movement, knitwear as costume, and the tension between being broken and being together.

The planning moodboard draws together stamps, language, and documentary processes — weaving cultural memory into visual form. Themes of rebirth, nature, and the body's relationship to time run throughout.

An exploration of Ta Moko — the traditional Māori tattoo practice — through three lenses: historical, psychological, and political. The research examines how the mark on the body functions as a fetish object: a material form representing something immaterial — rank, ancestry, spiritual authority.

Central to the enquiry is the concept of Kirituhi (skin art) and the distinction between sacred facial marking reserved for Māori and the broader appropriation of tattoo culture. The Tohunga Ta Moko, the practitioner, is both artist and ritual keeper — the act of marking is inseparable from its meaning.

Six miniature identities contained and 'sold' to viewers in plastic soy sauce containers. Each container holds its own personality — assembled from torn magazine imagery and collaged faces. The work comments on the linear space of identity development and the extreme form of consumer culture. · 2019

Visual research produced alongside a thesis mentorship with Marc Ascoli at Polimoda, 2023–2024. Working through found imagery, décollage, and material layering, the series uses the diamond as its central symbol — simultaneously the purest substance and the most mediated commodity — to examine authenticity, desire, and exchange value.

Each collage is titled after a physical property or transformative state of the diamond: Pressure, Water, Fluids, Temperature, Life, Oxygen, Desire.

觀落陰 — a Taiwanese shamanic practice in which the living descend blindfolded into the underworld, guided by a priest's chanting, to visit the dead. 陰 itself means dark, shadow, feminine — the realm opposite of 陽. The shoot inhabits that threshold: two women whose shadows double them on the wall, lotus rising from mud into light, a face dissolving at the moment of crossing.

Art Direction: Ling Huang · 2022

A beauty editorial exploring summer nostalgia — the sensation of memory made in a different time and place. Skin, water, fruit, and warmth as the material of recollection: close, sensory, slightly out of reach.

Art Direction: Ling Huang · The Collector Magazine · 2024

Found Catholic ephemera, photocopied body, hand-sewn pages. Zenzine traces the transmission of devotion — antique Sacred Heart prayer cards listing eleven promises of divine love, red lines marking where sacred energy moves, the body as archive of faith inherited and re-marked.

Photography, video, and bookbinding by Ling Huang · 2022