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Thesis: MeiYi+ YingFei

This project explores speculation in grief, using parallel intergenerational storytelling to confront cycles of recurrence and inherited emotional patterns. By combining projection mapping’s temporal nature with the permanence of a fabricated book, it proposes that grieving is always subjective and resists singular resolution, instead embraces multiplicity and ambiguity.




Project Description

The title, 美怡+英菲, is a combination and mix of my grandma's and my own given names. The project explores narrative storytelling of two mirroring intergenerational stories, in particular, on how to leave room for speculation, regret, and imagination while respecting and commemorating someone’s history. How do we rewrite the sad endings of our loved ones without changing who they are and what they did? We project ourselves onto the story as we grieve, for it is such a personal thing: You do not grieve the “objective” person they were, but who they were to you and how they influenced you. The natural unreliable narrator we play as we grieve puts on a filter for them and distances us from our loved one in a way.
Grief forces us to reflect upon ourselves as well. When you look back upon your linage, you recognize the similarity between yourself and your forebear and question whether you are destined to repeat their fate; you spot the differences and underline progress, only to doubt whether it is simply the changing current of times that pushed you forward and washed her to the shore, and would you have been able to check off the achievements if you were in her shoes?

The project is dedicated to my late grandma, 美英, while shedding light on the subject of linage and willing vicariousness, the miscarried could’ve-been, and repetition in fate.


Technical Details

Combining the intangible—projection mapping—with the tangible—textured fabrication—this project bridges life and death, fact and speculation, history and the could-have-beens. When words are compiled into books, they gain authority; projection mapping subverts this perceived permanence and truth. Instead, the story exists in light—fluid and ever-changing—emphasizing the subjectivity of storytelling. At the same time, each page of the book is uniquely textured, offering a sense of permanence and introducing touch as a narrative element.

The physical act of flipping the book, which alters the narrative, along with the recurring motif of trains, reinforces a central theme of “moving on”—of grief as a process of continual becoming rather than closure.