Can you tell us about your journey as an artist? What pivotal moments or experiences led you to become the artist you are today?

My journey as an artist and designer has been shaped by a deep fascination with materials and a commitment to sustainability. I began my career in architecture, which instilled in me an appreciation for spatial design and material applications. However, I found myself drawn to the tangible impact of product design—how objects interact with people and the environment on an intimate level. My transition into industrial design allowed me to explore this further, particularly in the realm of sustainable materials. A pivotal moment in my journey was my graduate research at Parsons School of Design, where I delved into sustainable design practices. My project, EcoShell, was born from this research, driven by a desire to repurpose overlooked waste materials. The realization that design could actively contribute to environmental healing, rather than simply mitigating harm, reshaped my approach and solidified my commitment to material innovation.  

Your practice blends design innovation with ecological responsibility. How do you define 'ecological responsibility' in the context of your work, and what specific criteria do you use to assess the ecological impact of your materials and processes?

For me, eco-responsibility in design means being aware of the impact on the environment at every stage of creation - from the choice of raw materials, through the production process, to the user's use, to the product's end-of-life. It's not just about minimising harm, but about actively contributing to the recycling and regeneration system. I evaluate materials and processes based on several key criteria: sustainability in the sourcing of raw materials, energy consumption during production, biodegradability or recyclability, and long-term durability. In the case of the EcoShell project, oyster shells and fish bones, which are substantial waste materials in the seafood industry, are used without additional resource extraction. In addition, the choice of natural binders instead of synthetic binders ensures that the products are biodegradable and can enter the eco-cycle system at the end of their life without consuming more resources. 

Your project ECOSHELL, transforms discarded oyster shells and fish bones into building tiles. What inspired you to focus on marine waste, and what unique properties do these materials possess that make them suitable for architectural applications?

Marine waste, particularly oyster shells, is an underutilized resource despite its abundance. Millions of tons are discarded annually, often ending up in landfills or causing environmental hazards in coastal areas. I was inspired to find a way to transform this overlooked material into something functional and beautiful. Oyster shells are naturally rich in calcium carbonate, the same primary component of limestone and concrete, making them highly durable and resistant to salt corrosion—ideal for coastal architecture. Fish bones contain natural binders that, when processed, act as biodegradable adhesives. These properties, combined with their lightweight nature, allow EcoShell tiles to provide a strong yet environmentally friendly alternative to traditional building materials.  

You approach each project with a mindset of regeneration. Can you elaborate on what 'regeneration' means to you in the context of design and materiality? How does your work contribute to ecological healing beyond simply minimizing harm?

To me, regeneration goes beyond sustainability. Regeneration is about actively restoring and enhancing ecosystems, not just reducing damage. It involves designing in a way that not only minimises waste, but also gives back to nature. The goal of many of my projects is to reuse waste materials that would otherwise pollute the ecosystem and turn them into something valuable. In addition, because the new materials chosen for use are inherently biodegradable, they do not contribute to long-term pollution of the environment. This approach is in line with the principle of renewability, which closes the material cycle and ensures that these materials can be utilised multiple times at the end of their life cycle, as well as returned to the earth undamaged. 

Your work encourages a shift in perspective, where human innovation can contribute positively to ecological healing. What are some of the biggest obstacles to achieving this shift, and how can artists and designers play a more active role in overcoming them?

One of the biggest barriers is the deep-rooted reliance on traditional, unsustainable materials and manufacturing processes. Many industries are resistant to change due to cost, scalability and existing infrastructure. Another challenge is consumer perception, where people tend to equate sustainability with compromise, whether in terms of performance, durability or aesthetics. Artists and designers can play a key role in this shift, demonstrating that sustainability can be synonymous with innovation and beauty. By integrating eco-consciousness into mainstream design and making sustainable alternatives more accessible, we can gradually change industry and consumer behaviour. At the same time, widespread social education and awareness-raising are vital, and highlighting the environmental impact of materials and promoting recycled design practices can inspire wider systemic change. 

Beyond the functional and aesthetic aspects of your work, what kind of emotional or spiritual connection do you hope to foster between people and the materials that surround them? 

I hope to cultivate a sense of reverence for shaping materials. In modern society, materials are often viewed as disposable objects that are used, discarded and replaced without a second thought. Through my work, I hope to challenge this sense of alienation by highlighting the origins, transformations and potential of materials, especially those that are seen as waste. How discarded materials that were once part of a living ecosystem can be transformed to be reborn as new materials. This transformation is not only functional, but also symbolic, encouraging people to see the material as part of a larger ecological cycle rather than an isolated commodity. On a deeper level, I believe that materials carry stories, history and energy. By incorporating natural and repurposed elements into my designs, I hope to create a tactile and emotional connection between people and their surroundings, fostering an appreciation of the natural world, a sense of responsibility and a sense of belonging.

How can design help us to reconnect with the natural world and cultivate a deeper sense of responsibility towards the environment?

Design is a powerful bridge between people and the environment. It shapes how we interact with the world daily, influencing our behaviors and values. Thoughtfully designed products and spaces can remind us of our role within nature rather than separate from it. Using natural, recycled, or bio-based materials can create a sensory connection to the environment. Interactive and regenerative design solutions—like buildings that incorporate living materials, products that biodegrade safely, or systems that encourage sustainable behaviors—can cultivate a more responsible mindset.  

Ultimately, design has the ability to not only reduce harm but also inspire a shift in how we perceive and care for the planet. By embedding ecological responsibility into everyday experiences, we can create a future where sustainability is not just an option but an inherent part of our lives.

You've spoken about the importance of shifting consumer perception to equate sustainability with innovation and beauty, rather than compromise. What specific strategies do you employ in your design process to challenge this perception and create products that are both ecologically responsible and aesthetically compelling?

In an effort to change the way people think about sustainability, I begin each project by rethinking what we think of as waste. Instead of seeing discarded materials as limitations, I see them as opportunities. In the EcoShell project, for example, I focused on marine debris, not only because of their ecological urgency, but also because of their untapped material potential.

One of the key strategies I use is to let the materials tell a story. By allowing a portion of the material's natural qualities to remain visible in the final design, I invite the user to see the transformation from waste to design. This transparency adds emotional and aesthetic value - people are often surprised at how effective and sophisticated something made from ‘rubbish’ can be. Functionality was also part of the design strategy; the EcoShell tiles are designed to be visually appealing, but also lightweight and salt and alkali resistant, making them practical in coastal buildings. The modular suspension system simplifies installation and replacement, demonstrating that eco-design can also enhance the user experience.

Ultimately, my goal is to show that beauty and responsibility can coexist, and that innovation often begins where we least expect it.

In what ways do you see art and artists contributing to sustainability and social consciousness in today's world?

Artists and designers have a unique role in mediating science, culture, and emotions. This role has become even more important in the face of the ecological crisis. We don't just create objects, we shape narratives, ask questions, and visualize alternative futures.

Through EcoShell and my other projects, I see material experimentation as a form of environmental storytelling. Turning waste into value is not only a technical process but also a symbolic act in which artists can recycle discarded materials and reinvent them as vehicles of memory, place, and potential.

More broadly, I believe art can instill a deeper sense of connection and responsibility. It invites people to feel and even use, rather than just think, which can be effective in crossing the emotional divide between consciousness and action. Whether through tactile installations, sustainable product design, or community-driven projects, artists are helping society transition from consumption to regeneration.

What message or call to action would you like to share with our audience through your work?

The materials around us tell stories - stories of ecosystems, stories of industry, stories of excess and potential. My call is that people should look again. What we discard can become our new material. What we ignore could be the key to a more resilient future. Innovation can come from waste, beauty can arise from decay, and sustainability is not an aesthetic limitation, but a creative opportunity.

I hope my work encourages people to rethink their relationship with the physical world, not as a one-way street from use to disposal, but as a continuous cycle of regeneration where each step has the potential to heal the environment rather than harm it.

Read more about the artist here.

All images courtesy of Yingfei Zhuo.