王悠然 Youran “Iris” Wang
I make images, spaces, and objects that ask people to look at what they have learned to look past.
我创作图像、空间与器物，让人们重新去看那些他们早已学会视而不见的东西。
Wenzhou, Zhejiang → UWC Changshu China
浙江温州 → 常熟UWC世界联合学院
自述Looking at What Gets Looked Past凝视被忽略之物
“I am a maker who searches for faint light in the folds of ordinary life — using a camera to listen to what wrinkles whisper, using a stage to collect the choreography of fingertips, letting the voiceless be seen.”
“我是一名在生活褶皱中寻找微光的创作者——坚信艺术是灵魂的显影剂，用镜头倾听皱纹的私语，用舞台收藏指尖的舞蹈，让无声者被看见。”— from my 2026 artist statement — 摘自我的 2026 年艺术家自述
My work keeps returning to the same question: what have we all agreed to stop noticing? A comic about the insects that no longer hit a windshield. A photograph of a forest after fire. A shared box of period products in a school hallway, restocked quietly because nobody wanted to ask. I am drawn to the thing sitting in plain view that everyone has trained themselves to walk past.
In 2026 three of those pieces — a comic, a photograph, and a poster — were recognized by the Scholastic Art & Writing Awards. They look nothing alike, and that is the point: I choose the medium the question needs, not the one I am most comfortable in.
The other half of my practice happens behind the audience’s eyeline. As lead set designer for my school’s drama society, I build the world a story happens inside — a gothic altar for Corpse Bride, a scale model box for a professional production in Shanghai. Design taught me that a room can argue. Before an actor says a word, the space has already told the audience what kind of world they are in, and I want to keep learning how to write with that.
Lately I have been pulling a third thread through both: technology as a material, not a tool. I build things by vibe coding — describing what I want to an AI, then iterating against what actually appears on screen, which feels much more like working in a studio than like traditional programming. My research in Guizhou ended up proposing AI-generated Miao embroidery patterns and AR cultural scenes to help teenagers there see their own heritage as a skill worth having. This site is the same experiment: I designed and built it this way, and I made every editorial call about what belongs on it.
I know where I am still thin. My grasp of visual technology is narrower than my ambitions for it, and I am working on that deliberately rather than hoping it resolves itself. What I am certain of is why I make anything at all: creation is one small light waking another.
我的创作总是绕回同一个问题：我们究竟集体默许自己不再去注意什么？一部关于挡风玻璃上再也沾不到几只虫子的漫画；一张山火过后的树林照片；学校走廊里一个悄悄补货的卫生巾共享盒，没人愿意开口去问。我总是被那些明明摆在眼前、却被所有人训练成视而不见的东西吸引。
2026 年，其中三件作品——一部漫画、一张照片、一张海报——获得了 Scholastic Art & Writing Awards（美国学生艺术与写作大奖）的认可。它们彼此毫无相似之处，而这正是重点：我选择问题需要的媒介，而不是自己最顺手的那一种。
我创作的另一半，发生在观众视线之外。作为学校戏剧社的主舞美设计，我搭建故事发生的那个世界——为《僵尸新娘》做的哥特式神坛，为上海一场专业演出做的等比例模型箱。设计教会我：一个空间本身也可以有态度。演员开口之前，空间早已告诉观众这是个什么样的世界，而我想继续学习如何用这种语言书写。
最近，我把第三条线索也编织了进来：把技术当作一种材料，而不是工具。我用 vibe coding（氛围编程）的方式做东西——把想法讲给 AI 听，再根据屏幕上真实出现的效果不断调整，这种感觉远比传统编程更像是在工作室里创作。我在贵州做的田野调查，最后提出用 AI 生成苗绣纹样、用 AR 呈现文化场景，帮助当地青少年看见自己的文化传承本身就是一项值得拥有的技能。这个网站正是同一种实验：我用这种方式设计并搭建了它，网站上出现什么、不出现什么，每一个编辑决定都由我来做。
我清楚自己还欠缺什么。我对视觉技术的掌握，还配不上我对它的野心，而我正在有意识地弥补这一点，而不是坐等它自己变好。但我确信自己为什么要创作：创作的真谛，是以微光唤醒微光。
画室Images That Argue有态度的影像
Photography, illustration, and comic art — roughly three hours a week since Grade 9, circling themes of growth, identity, and the things a society quietly agrees not to see. In 2026 three pieces were recognized by the Scholastic Art & Writing Awards, the century-old American competition whose past teenage entrants include Andy Warhol, Sylvia Plath, and Amanda Gorman.
摄影、插画与漫画创作——从 9 年级开始，每周大约投入三个小时，反复回到成长、身份认同，以及一个社会默默选择不去看见之物这些主题。2026 年，其中三件作品获得了 Scholastic Art & Writing Awards（美国学生艺术与写作大奖）的认可——这项已有百年历史的美国赛事，历届少年参赛者中包括安迪·沃霍尔、西尔维娅·普拉斯与阿曼达·戈尔曼。
They Don’t Care
《他们不在乎》
Ink comic, six panels · drawn digitally in Freeform · Grade 11
墨水漫画，六格 · 使用 Freeform 数字绘制 · 11 年级
A six-panel comic that starts with a windshield. Drivers used to arrive covered in dead insects; now the glass stays clean, and almost no one asks why. Told through a child’s half-understood logic, it moves from the “windshield phenomenon” — a real, quietly alarming measure of insect population collapse — to the bias that keeps us from caring about creatures we have already decided are ugly. I made it for my own campus first, hoping to talk classmates out of their disgust reflex, and it was picked as one of three environmental comics the school put up around the building before I ever thought to enter it anywhere. It was also my first time drawing on a tablet — a week of fighting with software I had to learn from nothing, then another week once I decided the piece was worth entering into Scholastic, polishing it further.
这部六格漫画从一块挡风玻璃说起。过去，司机开车抵达时挡风玻璃总会沾满虫子的尸体；如今玻璃始终干净，却几乎没人问过为什么。漫画借一个孩子似懂非懂的逻辑展开，从“挡风玻璃现象”——一个真实存在、却悄然令人不安的昆虫种群衰退指标——讲到那种让我们无法在意“已经被判定为丑陋”的生物的偏见。我最初只是为了自己的校园而做，希望能说服同学们放下那种本能的嫌恶感，后来它被选为学校张贴在教学楼里的三幅环保主题漫画之一——那时我根本还没想过要拿它去参赛。这也是我第一次用数位板作画：先花了一周时间从零摸索、和软件较劲，后来决定把它投给 Scholastic，又花了一周进一步打磨。
Click any panel to read the sequence full-size.
点击任意一格，可放大查看完整连续画面。
Only Boundless Freedom Can Give Rise to Life
《唯有无边的自由，才能孕育生命》
Photograph · iPhone camera · Grade 11
摄影 · iPhone 拍摄 · 11 年级
I did not compose this. No angle chosen, nothing cropped or graded — it is exactly what I passed on the way somewhere else: a stand of saplings still bare in the middle of summer, standing straight anyway. They reminded me of my middle-school classmates inside a high-pressure system that breaks some people and leaves others stubbornly upright, heads tipped toward a sky none of us could quite reach. I wanted a way to hold that one second of looking at them a little longer, so I did.
这张照片没有经过刻意构图。没有挑选角度，没有裁剪调色——它就是我在赶路途中，恰好经过时看到的样子：仲夏时节依然光秃秃的一排小树苗，却仍执意笔直地站着。它们让我想起初中时那些身处高压环境中的同学：有人被压垮，也有人固执地挺立着，把头仰向一片我们谁都够不到的天空。我想找一种方式，把那一秒钟的凝视多留住一会儿，于是就有了这张照片。
What the River Tried to Tell Us
《河流试图告诉我们的事》
Mixed-media poster on canvas · 16.5 × 11.7 in · Grade 11
综合材料海报，绘于画布 · 16.5 × 11.7 英寸 · 11 年级
A protest poster built around Dark Waters and the real story of PFAS — “forever chemicals” — contamination it dramatizes: a call sheet for the three things that actually move a case like this, which are public pressure, legislation, and a company’s own admission of harm. Like the comic, it was not made for a competition — I researched and wrote it over a couple of scattered days to paste up around my own school, hoping to raise a little more awareness of water and ecological protection on a campus that walks past both daily.
这张抗议海报围绕电影《黑水》（Dark Waters）以及它所改编的真实事件——PFAS（“永久化学物质”）污染案——展开，列出了真正能推动这类案件的三件事：公众压力、立法，以及企业自己承认造成的伤害。和那部漫画一样，它最初也不是为参赛而做——我用零散的几天时间做调研、写文案，只是想把它贴在自己的学校里，希望能让每天从水边、生态旁走过却习以为常的同学们，多一点点关注。
Also from the Studio画室里的其他作品
1 / 2
1 / 4舞台Building the Room the Story Happens In搭建故事发生的房间
I grew up performing, and somewhere around Grade 10 I moved permanently behind the proscenium. As a core member and lead set designer of Theaomai, UWC Changshu’s drama society, I help build the physical world of each production — and I helped grow the club to twenty-five members while doing it.
我从小就在舞台上表演，大约从 10 年级开始，我永久地转到了台口之后。作为 UWC 常熟戏剧社 Theaomai 的核心成员与主舞美设计，我参与搭建每一场演出的物理世界——在这个过程中，也帮助社团从最初的几个人壮大到二十五名成员。
僵尸新娘Corpse Bride
Theaomai Drama Society · UWC Changshu China Theaomai 戏剧社 · 中国常熟UWC世界联合学院My first production leading design end to end. The rose-covered gothic altar started as an iPad sketch worked out cue by cue, became foam board, wire, silk flowers, and a great deal of hand-painted texture on a workshop floor, and ended up as the thing the whole second act happens around. I learned more from the gap between the drawing and the built object than from either one alone.
这是我第一次独立主导一部戏从头到尾的设计。那座缀满玫瑰的哥特式神坛，最初只是 iPad 上按提示逐格画出的草图，后来在工坊的地板上变成了泡沫板、铁丝、绢花，以及大量手工上色的肌理，最终成为整个第二幕围绕展开的核心场景。图纸与实物之间的落差，教会我的东西比这两者各自单独教给我的都多。
✦ Designed, built, and installed — sketch through strike ✦ 设计、搭建、装台一手包办——从草图到拆台Click through for the build: design sketch, workshop, finished set, cast.
点击查看制作过程：设计草图、工坊搭建、成品布景、演员合影。
📜 Read the script阅读剧本 by Alice Li, Kristen Wang & Sarah Mohammed · PDF 编剧：Alice Li、Kristen Wang、Sarah Mohammed · PDF
Dead Poets Society死亡诗社
Theaomai Drama Society · UWC Changshu China Theaomai 戏剧社 · 中国常熟UWC世界联合学院Our adaptation of Tom Schulman’s play, staged with a moodboard wall of torn photographs standing in for memory and a blue wash that turned the whole cast into silhouettes for the closing scene. I helped build that wall and ran through the design alongside the rest of the ensemble — the club had grown from a handful of us to twenty-five members by this point, and it showed in how many hands were on the build.
这是我们对汤姆·舒尔曼原著剧本的改编演出：一面由撕碎的照片拼成的记忆墙，以及在结尾场景中把全体演员化为剪影的蓝色洗光。我参与搭建了那面记忆墙，也和整个剧组一起完成了这次设计——社团这时已经从最初的几个人壮大到二十五名成员，参与搭建的人手之多，也体现出了这一点。
✦ Snow and paper-scatter effects · moodboard set piece ✦ 雪花与纸屑特效 · 记忆墙布景Click through: set detail, ensemble, curtain call.
点击查看：布景细节、全体演员、谢幕。
动物学校WHAT DOES ANIMAL SAY?
Birdie Summer Camp · Shanghai YOUNG Theatre, Bird Hatching Season Birdie 戏剧夏令营 · 上海 YOUNG 剧场，鸟蛋孵化季A four-week ensemble intensive with Birdie, a theatre-education company run by overseas-trained professionals, capped by nine other young creators and me devising and staging an original piece about the privilege that comes from where you are born and about workplace sexual harassment — a theme several of us on the team turned out to share real experience of. I sat in every script discussion and rehearsal, played a capybara, co-designed the final stage scenery, built the production’s first set model box, and helped run publicity. It opened to a paying public audience — the first time my design work shared a building with a real box office.
这是与 Birdie（一家由海归专业人士创办的戏剧教育机构）合作的为期四周的集体创作营。最后，我和另外九位年轻创作者一起，编创并演出了一部原创作品，主题是出身带来的特权，以及职场性骚扰——这个主题，我们团队中不止一人后来发现自己其实有过真实经历。我参与了每一次剧本讨论和排练，饰演了一只水豚，联合设计了最终的舞台布景，制作了这部戏的第一个模型箱，还协助做了宣传。演出最终面向付费公众开放——这是我的设计作品第一次和真正的票房共处一栋楼。
✦ Selected for a 10-person ensemble · set model box · poster · cast ✦ 入选十人核心创作团队 · 舞台模型箱 · 海报 · 演员 📜 Read the devised script阅读集体创作剧本 ensemble-written, Birdie Theatre · PDF 全体成员共同编写，Birdie 戏剧 · PDF
谁逼死了天使Who Killed the Angel
Creative Writing A3 · year-end original drama 创意写作 A3 · 年终原创戏剧A piece our Creative Writing class devised together about school bullying and collective blame — one classmate wrote the first draft, and the rest of us built it further through rehearsal and rewrites. My own contribution was the character design: a full set of costume boards, each built around a reference image with fabric, colour, and damage annotated by hand, so that what an audience saw on each body told part of the story before anyone spoke. The production won Most Touching Scene and the Most Popular Award at the year-end showcase.
这是我们创意写作课集体创作的一部戏，主题是校园霸凌与集体归责——一位同学执笔完成初稿，我们其余的人通过排练与反复修改，把它进一步完善。我自己的贡献是角色设计：一整套服装设计图板，每一张都围绕一张参考图展开，手工标注面料、色彩与磨损细节，让观众在演员开口之前，就已经能从每个人身上读出部分故事。这部作品在年终汇演中获得了最动人场景奖与最受欢迎奖。
✦ Most Touching Scene · Most Popular Award — year-end showcase ✦ 最动人场景奖 · 最受欢迎奖——年终汇演Click through: costume boards, staging, poster.
点击查看：服装设计图板、舞台呈现、海报。
▶ Watch the video观看视频The wider Theaomai repertoire
更广泛的 Theaomai 剧目
Acting and designing across classical and adapted work, performed both on campus and outside it, while the society grew from a small group to twenty-five members.
在经典与改编作品之间，兼顾表演与设计，演出场地既有校内也有校外，社团也在这个过程中从一个小团体壮大到二十五名成员。
Creative Writing Program
创意写作课程
A semester studying storytelling fundamentals across plays, personal essays, and short fiction — the coursework that fed directly into Who Killed the Angel, above.
用一个学期学习戏剧、个人随笔与短篇小说中的叙事基础——这门课的作业直接催生了上文的《谁逼死了天使》。
Research: the theatre industry
研究：戏剧行业
An ongoing 4,000-word paper on how commercial theatre actually runs — production economics, audience psychology, brand marketing, and the commercial application of stage design.
一篇仍在进行中的 4000 字论文，研究商业戏剧究竟如何运作——制作经济学、观众心理、品牌营销，以及舞台设计的商业应用。
造物Objects, Machines, and Code器物、机械与代码
A running habit of building the thing rather than only proposing it. Some of these started as coursework and some started as an annoyance nobody was fixing, and lately they have started to include software — I build by vibe coding, describing what I want and then iterating against what appears, which feels far closer to studio practice than to engineering.
我一直保持着一个习惯：把想法真正做出来，而不只是提出方案。这些项目有些始于课程作业，有些始于一件没人去解决的烦心事，而最近，它们也开始包含软件——我用 vibe coding（氛围编程）的方式去做：描述出我想要的东西，再针对屏幕上出现的结果不断修改，这种感觉远比工程开发更接近工作室创作。
1 / 8
Three-Source Dorm Fridge
三电源宿舍冰箱
A working portable refrigerator from foam board, tin foil, a motor, and a Peltier cooling plate — switchable between three power sources: 220V mains, a 12V battery, and a solar panel. The shell is hand-drawn, because a thing you built should not have to look like a lab result.
用泡沫板、锡箔纸、电机与半导体制冷片做成的一台能实际制冷的便携冰箱——可在三种电源间切换：220V 市电、12V 电池，以及太阳能板。外壳是手绘的，因为自己做的东西，不该看起来像一份实验室成果。
A Cup Made of Coffee
一只用咖啡做的杯子
A proposal to replace single-use cups with two reusable alternatives — one pressed from spent coffee grounds, one from hemp fibre — argued on the boring, decisive grounds that actually matter: safety, durability, cleaning, cost, and what really happens to a “degradable” cup after you throw it away.
一份用两种可重复使用的替代品取代一次性杯子的方案——一种由用过的咖啡渣压制而成，一种以大麻纤维制成——论证的依据是那些枯燥却真正关键的问题：安全性、耐用度、清洁方式、成本，以及一只“可降解”杯子被扔掉之后究竟会发生什么。
▶ Watch the project video观看项目视频
1 / 6
The Shared Period Box
共享经期用品盒
A free, restocked box of period products placed where people actually need one, built after noticing how many were quietly going without rather than asking. Small, unglamorous, and used constantly.
一个免费、定期补货的经期用品共享盒，放在人们真正需要它的地方——它的诞生，是因为我注意到有多少人宁愿悄悄将就，也不愿开口去问。它并不起眼，却被持续不断地使用着。
★ KUNCHENG SPARK Award
1 / 15
SIGNNOPOLY: a Board Game for Sign Language
SIGNNOPOLY：一款手语学习桌游
A Monopoly-style tabletop game that teaches beginners basic Chinese Sign Language by playing rather than drilling — illustrated, written, and playtested with a team after teaching sign language to volunteers and watching where new learners actually stall.
一款大富翁式的桌面游戏，让初学者在玩耍中而非死记硬背中学会基础中国手语——在为志愿者教授手语、观察到新手真正卡壳的地方之后，我和团队一起完成了插画绘制、文案编写与反复的游戏测试。
1 / 5
3D Laser Engraving Machine
3D 激光雕刻机
Designed and assembled from parts, mostly to find out whether I could — and to have a tool that turns a drawing into a physical surface without going through anyone else’s workshop.
从零件开始设计、组装而成——主要是想知道自己能不能做到，也想拥有一台不必依赖别人工坊、就能把图纸变成实体表面的工具。
Vibe Coding & This Site
氛围编程与这个网站
I have been learning to build software the way I build a set: describe the intention, look hard at what comes back, and revise. This portfolio is one result — designed and built that way, with every decision about what belongs on it made by me. Next I want to push into AI- and AR-driven work, an idea my Guizhou fieldwork already pointed at.
我一直在学习用搭建舞台布景的方式去写软件：描述意图，认真审视返回的结果，然后修改。这个作品集就是其中一个成果——用这种方式设计并搭建，网站上出现的每一个决定都由我来做。接下来，我想更深入地投入 AI 与 AR 驱动的创作，这是我在贵州的田野调查已经指向的一个方向。
田野Questions Worth Sitting With值得静下心细想的问题
Four studies, four very different rooms: survey data on fandom and identity, a resettled village in the mountains of Guizhou, a square-dancing circle of grandmothers in Changshu, a classroom of ten-year-olds learning the word “boundary” for the first time. What holds them together is a refusal to theorize from a desk when the people the theory is about are reachable by train.
四项研究，四个截然不同的现场：关于粉丝文化与身份认同的问卷数据、贵州山区一个易地搬迁的村落、常熟一群跳广场舞的祖母们、一间十岁孩子第一次学习“界限”这个词的教室。把它们串在一起的，是一种坚持——当理论所讨论的人群明明只有一趟火车的距离时，就不该只坐在书桌前空想。
为爱发电Generating Love: Talent-Show Consumption & Youth Identity
Do fans who spend money supporting an idol on a talent show end up with a steadier sense of who they are than fans who only watch? Splitting respondents into non-viewers, viewers, and viewer-consumers, this study paired a 119-respondent survey with structured interviews, then analyzed the results across three dimensions of identity: self-concept clarity, sense of belonging, and emotional energy.
The finding cut against the easy assumption that fan spending is simply impulsive: viewers who never spent scored lowest of all three groups on every measure — lower even than people who do not watch these shows at all. Moderate, reflective consumption tracked instead with a clearer, steadier sense of self. The paper reads fan spending as identity commitment rather than impulse, following Erikson’s exploration–commitment model of adolescent identity.
在选秀节目中花钱支持偶像的粉丝，是否比只观看不消费的粉丝拥有更稳定的自我认同？本研究将受访者分为非观看者、观看者与观看兼消费者三组，结合 119 份问卷调查与结构化访谈，从自我概念清晰度、归属感与情绪能量三个维度分析结果。
研究结果推翻了“粉丝消费只是一时冲动”这一简单假设：从不消费的观看者，在三组中的各项指标上得分最低——甚至低于完全不看这类节目的人。相反，适度、经过思考的消费，与更清晰、更稳定的自我认同相关联。这篇论文沿用埃里克森青少年身份认同理论中的“探索—承诺”模型，将粉丝消费解读为一种身份承诺，而非一时冲动。
南溪苑田野调查What Comes After Resettlement: Nanxiyuan, Guizhou
China’s poverty-relocation program has moved more than 9.6 million people out of mountain regions since 2015. Nanxiyuan, outside Guiyang, resettled 1,060 residents from seven mountain townships in 2019. The easier part of that story is already told — clean housing, a 97.24% employment rate, a community clinic where there had been none. This study went looking for the harder question: what happens to a resettled community as government subsidies taper and it has to learn to generate its own momentum.
On-site interviews with a sanitation worker, a rattan-weaving workshop owner, a community-committee deputy, two schoolchildren, and the social workers running the after-school program built a picture of a settlement in its harder, “soft” transition — from hardware to opportunity, culture, and a generation of teenagers deciding whether to stay. The study closes by proposing that the community’s Miao and Buyi heritage — embroidery, dance, textile craft — be folded into paid digital-content training for local teenagers, including AI-generated pattern work and AR cultural scenes: turning cultural identity into a marketable skill instead of something school quietly discourages.
自 2015 年以来，中国的易地扶贫搬迁工程已将超过 960 万人迁出山区。贵阳郊外的南溪苑，在 2019 年安置了来自七个山区乡镇的 1060 名居民。这个故事比较容易讲的那一半已经被讲过了——整洁的住房、97.24% 的就业率、一间过去从未有过的社区诊所。这项研究想追问的是更难的那个问题：当政府补贴逐渐退坡，一个安置社区要如何学会自己产生动力。
通过对一位环卫工人、一位藤编工坊负责人、一位社区委员会副主任、两名在校学生，以及负责课后项目的社工进行实地访谈，本研究勾勒出这个安置社区正经历的更艰难的“软性”转型——从硬件建设转向机会、文化，以及一代青少年“是否要留下”的抉择。研究最后提出，应将社区的苗族与布依族文化传承——刺绣、舞蹈、织物工艺——纳入面向当地青少年、具有报酬的数字内容培训中，包括 AI 生成的纹样设计与 AR 文化场景呈现：让文化身份变成一项可以变现的技能，而不是被学校悄悄劝阻的东西。
广场舞与情绪Square Dancing & the Emotional Ledger of Growing Older
Twenty-eight women at Changshu’s Fangta Garden, screened for health and residency, sorted by how many weekly sessions of group square-dancing they attended. A five-item happiness scale, short semi-structured interviews, and a regression analysis found a clean climb — from an average happiness score of 17.0 among once-a-week dancers to 23.1 among women dancing five to seven times a week.
The likely mechanism reads like a small, self-reinforcing loop: repeated participation builds roles and social bonds, which build self-worth, which brings people back for more. One dancer, now the group’s unofficial DJ, put it more simply — it makes her feel useful. Rain was the one reliable disruption, pointing to a policy fix as unglamorous as it is obvious: a covered pavilion.
在常熟方塔园，28 位经过健康与居住资格筛选的女性，按每周参加集体广场舞的次数被分组。通过一份五项幸福感量表、简短的半结构化访谈与回归分析，研究发现了一条清晰的上升曲线——从每周跳一次的舞者平均幸福感得分 17.0，到每周跳五到七次的女性得分 23.1。
背后的机制读起来像一个不断自我强化的小循环：反复参与建立起角色定位与社交联结，进而带来自我价值感，而这又会让人们想要参加更多。一位如今已成为舞队“非正式 DJ”的舞者，说得更直白——这让她觉得自己有用。唯一稳定的干扰因素是下雨，这也指向了一个朴素却明显的政策对策：建一座带顶棚的亭子。
打破假设，建立尊重Breaking Assumptions, Building Respect
A two-lesson curriculum on stereotypes, consent, and personal boundaries, written for 10–13-year-olds at a Changshu public school still without formal health education. A five-person team wrote the lessons, ran pre- and post-tests, and taught them in Chinese across two 50-minute sessions to a class of 25. A role-play exchange — “Can I have that candy?” — stood in for consent; a basketball passed hand to hand stood in for the stereotype that boys are naturally better at sport.
The unit earned HOSA’s Regional Excellent Honor in Health Education, and it became the template for the wider teaching work below.
一套包含两节课的课程，围绕刻板印象、同意权与个人界限展开，专为常熟一所仍未开设正式健康教育课的公立学校里 10 到 13 岁的孩子设计。五人团队共同编写课程内容，设计了课前课后测试，并用中文为一个 25 人的班级上了两节各 50 分钟的课。一段角色扮演对话——“我可以吃那颗糖吗？”——用来演绎“同意”的概念；一颗在同学间传递的篮球，则用来演绎“男生天生更擅长运动”这一刻板印象。
这套课程获得了 HOSA 地区级健康教育卓越荣誉，也成为了后文更广泛教学工作的范本。
同行Mostly Taught Through Playing大多是在玩耍中教会的
Nearly all of this ended up using theatre as the method — not because drama is my hobby, but because a ten-year-old will act out a boundary they would never discuss, and a room full of volunteers will remember a scene long after they have forgotten a slide.
这些活动几乎都不约而同地用上了戏剧这个方法——不是因为戏剧是我的爱好，而是因为一个十岁的孩子会把自己不愿开口讨论的“界限”演出来，而一屋子志愿者会记住一个场景，远比记住一页幻灯片要久得多。
HOPE: Gender EducationUWC Changshu
Led 20+ volunteers, split into teaching and support crews, delivering drama-based gender education to four classes of 25–30 students at local primary schools — body awareness, beauty diversity, menstrual stigma, and assault prevention — with the program reaching toward Liangshan, Sichuan.
带领20多名志愿者，分成教学组与支持组，为当地小学的四个班级（每班25至30人）提供以戏剧为方法的性别教育——涵盖身体意识、美的多元性、月经污名化与防性侵——项目辐射范围一路延伸到四川凉山。
4 classes · 25–30 students each · 20+ volunteers led 4个班级 · 每班25–30人 · 带领20余名志愿者Sintillate: Children’s MusicalUWC Changshu
Co-led the drama section, teaching fundamentals to 30 primary students at Changshu Miaoquan Primary School and working with eight fellow student teachers to rehearse and stage musicals — including Zootopia — for a final showcase. I also designed the club’s mascot myself and made the stickers we handed out to the kids.
联合负责戏剧板块，为常熟缪泉小学的30名学生教授戏剧基础，并与另外8位学生教师一起排演、搭建音乐剧舞台——包括《疯狂动物城》——用于最终汇演。我还亲自设计了社团的吉祥物，并制作了发给孩子们的贴纸。
30 students · 8 co-teachers · full staged showcase 30名学生 · 8位联合教师 · 完整舞台汇演Running in the Dark黑暗跑团
Trained as a guide runner for an NGO that has worked across 54 Chinese cities since 2014, pairing sighted volunteers with visually impaired runners. I guide walkers and runners through marathons — the training is mostly learning to describe a road well enough that someone can trust it.
接受培训成为一名领跑员，服务于一家自2014年起已在中国54座城市开展工作的公益组织，将视力健全的志愿者与视障跑者结对。我在马拉松赛事中为步行者与跑者领路——这项训练，很大程度上是在学习如何把一条路描述得足够清楚，让人可以信任它。
Guide runner · marathon events 领跑员 · 马拉松赛事Wu Shi Volunteer Group吾是义工团
Seven years of supporting a student in the mountains outside Wenzhou with my own Lunar New Year gift money. I also teach sign language to incoming volunteers and assist elderly participants during community dance sessions.
连续七年，用自己的压岁钱资助温州山区的一名学生。我还为新加入的志愿者教授手语，并在社区舞蹈活动中协助老年参与者。
3× Charity & Volunteer Award 3次 · 慈善与志愿服务奖Women’s & LGBTQ+ AdvocacyUWC Changshu
Campus advocacy through performance and events — Drag Race, the Color Run, and Keep Marching, an ensemble monologue piece I performed for V-Week — alongside the Shared Period Box installation.
通过表演与活动进行校园倡导——变装皇后秀（Drag Race）、彩色跑（Color Run），以及我为 V-Week 表演的集体独白作品《继续前行》（Keep Marching）——同时还有共享经期用品盒这一装置项目。
★ KUNCHENG SPARK AwardOutdoors & Ensemble知行
Kayaking, sailing, cycling, and dragon dance — regular training plus school Olympics and public performances, including leading the dragon through its full routine on the main stage at UWC Changshu’s 10th Anniversary Graduation Ceremony. The Qiandao Lake ride around the whole lake is where I learned what leading a tired group actually costs.
皮划艇、帆船、骑行与舞龙——定期训练之外，还包括校运会与公开演出，其中包括在 UWC 常熟十周年校庆毕业典礼主舞台上完整地带领舞龙表演。环千岛湖骑行，是我真正学会“带领一群疲惫的人”要付出什么代价的地方。
★ Outdoor Leadership, Keystone Adventures ★ 户外领导力奖，Keystone Adventures ▶ Watch dragon dance practice观看舞龙训练视频TEDx Production CrewTEDxUWCChangshuChina
Ran production for the school’s TEDx society — reaching out to speakers and shaping their talks with them, calling cues backstage on show day, and typing live bilingual captions that scrolled beneath each speaker in real time.
负责学校 TEDx 社团的制作统筹——联系演讲者并与他们一起打磨演讲内容，在演出当天负责后台的现场调度，并为每位演讲者实时打出滚动的中英双语字幕。
Speaker liaison · live show-calling · real-time EN/CN captions 联系演讲者 · 现场调度 · 实时中英字幕
荣誉The Five That Matter Most最重要的五项
All five were earned in Grade 11, in the two areas I intend to keep working in: making images and asking researchable questions.
这五项荣誉全部获得于 11 年级，都集中在我打算持续深耕的两个领域：影像创作与可供研究的提问。
Silver Key, Comic Art
银钥匙奖，漫画艺术
Scholastic Art & Writing Awards — “They Don’t Care”
Scholastic Art & Writing Awards——《他们不在乎》
Silver Key, Photography
银钥匙奖，摄影
Scholastic Art & Writing Awards — “Only Boundless Freedom Can Give Rise to Life”
Scholastic Art & Writing Awards——《唯有无边的自由，才能孕育生命》
Honorable Mention, Graphic Design
荣誉提名，平面设计
Scholastic Art & Writing Awards — “What the River Tried to Tell Us”
Scholastic Art & Writing Awards——《河流试图告诉我们的事》
National Conference High Distinction
全国会议高分荣誉
China Thinks Big Global Research & Innovation Conference — Social Behavior & Economics
China Thinks Big 全球研究与创新会议——社会行为与经济学赛道
Regional Excellent Honor
地区级卓越荣誉
HOSA Health Education — “Breaking Assumptions, Building Respect”
HOSA 健康教育赛道——《打破假设，建立尊重》
KUNCHENG SPARK Award
UWC Changshu China Design Thinking — the Shared Period Box
中国常熟 UWC 世界联合学院设计思维课——共享经期用品盒
Where this started一切的起点
I auditioned for the Children’s Dream Drama Club in Grade 1 — six rounds of them — and stayed until I graduated primary school, eventually as its president. Over those years I acted, wrote, directed, and designed across sixteen productions, several of which we ticketed ourselves and gave the proceeds to charities supporting children with autism and families living with Alzheimer’s. I still go back to direct and design for them.
The archive below is the whole of it: primary and middle school, 2016 to 2023. I have left the prize list itself off this site, because a decade of arts-festival certificates is not what I am asking to be read as now. But this is where my hands were trained, and I would rather show the rooms than the ribbons.
我从一年级起就报名参加“孩子梦想剧社”的选拔——前后经历了六轮试镜——并一直留在社团里，直到小学毕业，后来还当上了社长。那些年里，我在十六部作品中担任过演员、编剧、导演与设计，其中几部我们自己卖票，把票房收入捐给了支持自闭症儿童和阿尔茨海默病家庭的慈善机构。直到现在，我仍会回去为他们执导、做设计。
下面的档案，是这段经历的全部：从小学到初中，2016 年到 2023 年。我没有把具体的获奖名单放上这个网站，因为一沓艺术节证书，并不是我现在希望被这样解读的东西。但这里，是我的双手真正被训练出来的地方——比起奖状，我更想展示的是那些房间本身。
19 productions, newest first back to 2016 · each cover is the poster or the best shot — click through to page through that production’s full set.
19 部作品，按时间从新到旧排列，回溯至 2016 年 · 每张封面是海报或最具代表性的一张照片——点击可翻看该作品的完整照片集。
1 / 8
1 / 5
1 / 6
1 / 9
1 / 8
1 / 4
1 / 6
1 / 3
1 / 9
1 / 8
1 / 5
1 / 10
1 / 6
1 / 7
1 / 4