Honey
The wax preserves the fabric's structure. With each interaction the character of the waxed surface deepens, holding traces of touch and memory—like an imprint in time. Shadows gather in its folds, emphasizing the contrast between light and absence.
06. – 10.04.2025, Mulino Factory Milan
Honey is available for purchase, message for further inquiries.
Return to the Ashes
The project repurposes an unwanted byproduct, experimenting with ashes in glaze-making to build a connection between the foundations of ceramics and draw attention to the process.
Ash glazes, made from organic materials such as wood, plants, and bones, were used primarily in East Asia, especially in Chinese, Japanese, and Korean ceramics. They can be considered the first glazes at all, often consisting only of ash, clay, and water.
The use of ash to make glazes dates back to 1500 BC and marks the beginning of glazes, the creation of which was accidental. Burned wood for firing the kiln landed on pots and left them glazed.
Since the cell structure derives its mineral nourishment from the soil, it is logical that the ash from the burnt material contains minerals which are essential for the production of glazes. Different plants absorb and contain different amounts of minerals, giving different results in glaze making.
The results depend very much on the ash and the ingredients mixed with it. Each batch can be completely different depending on the ash, the source of the material, and the temperature of the firing. Beautiful natural earthy browns and greens are usually the result. Rice straw ashes can have opaque white to blue colors.
Ash glazes can mimic the naturally occurring glazes produced in Anagma (穴窯) kilns, which use only wood to fire the kiln. In anagma kilns hot embers, the oxygen levels and the ash flying around in the kiln set on the pottery and melt on the surface of the ceramics, leaving a glaze.
The Mnemonic Wedding Cake Knife
As bride and groom hold the delicate knife together, standing opposite each other, their movements must align in a careful, circular motion to cut the cake, performing a dance together. This act demands teamwork — which is essential to navigating the challenges of married life.
Each year, on their anniversary, the couple reenacts the cake-cutting ceremony, reflecting on their journey together. The knife becomes a tangible reminder of their wedding day and the enduring partnership they nurture. Over time, it is not only a decorative object but a repository of memories, embodying the values of care, patience, and unity. Handed down to future generations, it connects family history with timeless tradition.
This collaboration led us to partner with Berlin's ABC Dinamo typeface studio, resulting in a unique visual identity that seamlessly blends the familiar pictogram/logo with the fresh “sabukaru”.
Sabukaru is an upcoming Tokyo-based online magazine, that celebrates diverse cultures, including cinema, sound and music, fashion, art, and global influences, with a distinct emphasis on Japanese cultural elements.
Visit sabukaru here to find out more.
Font used: ABC Dinamo Monument
Concept: Kieu My Le, Patryk Kulig
Visualisation: Patryk Kulig
“Dung Lai” is very personal to me, as it not only shows a selection of my photographs, which I have been secretly stashing away throughout the past years but also hand-written notes in between the pages, adding words to what is seen.
Visual Identity for Kilowatt Berlin
Their programs prioritize and focus on the representation of black & ipoc artists within the Berlin club scene.
Together with Anton Hallensleben, we crafted a fresh visual identity for the young collective. We came up with a graphical system for their upcoming events, which include club nights, panel talks, and their aperetivo partie series at Giri Berlin.
Artwork Kilowatt 4: siro.lim
Graphic Design: Kieu My Le
Art Direction: Kieu My Le, Anton Hallensleben
Poster series for Melted Film Festival; Dutch Design Film Festival
Still poster 2: Laura Gauch, Raices (2021)
Still poster 3: Thibau Henrique, Dossed (2023)
Cover Design for Lusah‘s Single “Pauline”
Graphic Design: Kieu My Le