In December 2024, EEPMON travelled to Beverly Hills to debut an original motion graphics installation at the 22nd Unforgettable Gala (UNFO). This premier black-tie event celebrates Asian and Pacific Islander trailblazers—including celebrities, influencers, and leaders—who have made profound contributions to arts, entertainment, and culture.

The motion graphics piece, which premiered during the 2024 UNFO, represents a world where high-energy motion and digital artistry collide. Overseeing the project from initial concept through to final video production, EEPMON developed a 4:30-minute cinematic backdrop specifically for the gala’s ultra-wide LED stage. To further elevate the atmosphere, a secondary large-scale installation on the West Wall provided a continuous ambient environment, fully immersing the audience in the evening’s performances.

This project was made possible through a collaboration with Andy Cheng, the Motion Arts Association, and the Bruce Lee Foundation, featuring a performance by Philip Sahagun and the Wushu K-Star Academy. Special thanks are extended to the UNFO production team, whose seamless stage coordination brought this vision to life.

Acknowledgements:
Golden TV
Character Media
Bruce Lee Foundation
Meihodo Aso

Music
Equus by Two Steps from Hell
Protectors from Earth by Two Steps from Hell

Musical Contribution
Qingege Gu Zheng Player

EEPMON has been named a recipient of the 2024 Banff Forum’s Arne Bengt Johansson Fellowship, a prestigious recognition that brings together Canada’s emerging and established leaders. This year’s forum, themed “Northern Vision: Resilience in a Volatile World,” took place from September 5–7 in Whitehorse, Yukon, providing a unique Arctic backdrop for critical national dialogue.

As a Fellow, EEPMON engaged in cross-sector policy discussions with leaders from government, business, and academia. A central focus of his participation was advocating for the integration of STEAM (Science, Technology, Engineering, Arts, and Mathematics) within Canadian industry. By positioning the creative arts as a mechanical necessity for fostering innovation, the fellowship served as a platform to demonstrate how digital craftsmanship and artistic inquiry are integral to shaping a resilient and forward-thinking national future.

Project Details:

∙ Honour: 2024 Arne Bengt Johansson Fellowship
∙ Event: Banff Forum XXIII
∙ Location: Whitehorse, Yukon
∙ Theme: Northern Vision: Resilience in a Volatile World

The evening of May 23rd, 2024 brought together the Chinese community across generations at the Canadian Museum of History’s event, “The Paper Trail: A History of the Chinese Exclusion Act in Canada.” I was deeply moved by the discussions between guest panelists, curator Catherine Clemen†, and CEO of the Chinese Canadian Museum, Melissa Lee, on the Chinese Exclusion Act of 1923.

I am honoured to have participated in this symbolic occasion with my mural, “The Paper Trail Towards the Red Sun,” as a response to such a dark period in Canadian history. The event was particularly meaningful to me because, I witnessed how my art and creativity were used to break down barriers, build empathy and understanding, and contribute to the ongoing path of healing. More needs to be done, and I am confident the spark has been lit and that the stories of the Paper Trail will continue.

Exclusively available at the Canadian Museum of History boutique, The Paper Trail Towards the Red Sun T-shirt explores the history of the Chinese Immigration Act of 1923, also known as the Chinese Exclusion Act. This Act was designed to identify, restrict, monitor, control, and discriminate against Chinese people. The t-shirt features excerpts from legal documents, woven into a composition that reflects beauty, harm, and hope.

On the front side, the Chinese characters translate to, ‘Notice! This service must be carefully preserved. Evidence of the person in the photo.’ This phrase appeared on the back of each immigrant’s Chinese Immigration (C.I.) certificate. These certificates, which were constantly updated, made immigration extremely difficult and targeted Chinese individuals. The number 45 was chosen for the front because even Canadian-born Chinese were not exempt from these certificates. Imagining being born in that era, I would have been extensively documented with this discriminatory certificate, a stark reminder of such a dark history.

On the back side, the design continues to feature excerpts from legal documents, creating a visual narrative that references the C.I. certificates. Integrated throughout the design is a quote at the bottom: “This certificate does not establish legal status in Canada,” along with the prominently displayed text, “Chinese Exclusion Act July 1st, 1923.”

I want to thank Alexis Boyle of the Canadian Museum of History for reaching out to me with this incredible opportunity, and of course, Melissa Lee and Catherine Clement for inspiring and educating me about the Chinese Exclusion Act of 1923 through their remarkable exhibition in Vancouver.

Learn more:
[ The Chinese Canadian Museum ]

My commissioned digital artwork mural is currently on display in timing for Asian Heritage month at the Canadian Museum of History. Please visit the Canadian Museum of History’s website here for more information.