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Ramona Jingru Wang


PERSONAL PROJECTS

  1. Poor Image
  2. Go See* 
  3. My friends are cyborgs. but that’s okay
  4. Spring, Summer, Fall, Winter

COMMISSIONS

  1. Dazed Beauty This beauty story captures the carefree feeling of summer in NYC, 28 May 2024
  2. Tory Burch Kira Diamond Picnic
  3. The Cut Sunny Choy
  4. BYLINE Issue 06 Cover Yaeji
  5. The New Times T Magazine An-My Lê 
  6. Office Magazine Sheerly Touch-Ya
  7. Refinery29 Vice Global Correspondent Project
  8. Maison Kitsuné
  9. MARUCHI HOUSE Sukeban Monogatari
  10. PUMA
  11. Jins Eyewear
  12. HERBAR
  13. FLAUNT Magazine 25th Anniversary Issue Rayne Fisher Quann
About
Newsletter
Instagram
💌 work@ramonajingruwang.com 

Ramona Jingru Wang
Personal Projects
  1. Poor Image
  2. Go See*
  3. My friends are cyborgs. but that’s okay
  4. Spring, Summer, Fall, Winter

Commisions


  1. Dazed Beauty This beauty story captures the carefree feeling of summer in NYC, 28 May 2024
  2. Tory Burch Kira Diamond Picnic
  3. The Cut Sunny Choi
  4. BYLINE Issue 06 Cover Yaeji
  5. The New Times T Magazine An-My Lê
  6. Office Magazine Sheerly Touch-Ya
  7. Refinery29 Vice Global Correspondent Project
  8. Maison Kitsuné
  9. MARUCHI HOUSE Sukeban Monogatari
  10. PUMA
  11. Jins Eyewear
  12. HERBAR
  13. FLAUNT Magazine 25th Anniversary Issue Rayne Fisher Quann

About
Newsletter
Instagram
work@ramonajingruwang.com 
In Poor Image, I explore the way memories often sneak into our dreams, surfacing as strange, random images or scenes. These dream-like visuals have a way of invoking a deep sense of nostalgia, almost as if they tap into a collective experience of the past. Through the aesthetic of vernacular photography, I capture these fleeting moments—fragments of the everyday that echo the surreal, fragmented nature of our dreams.

I’m also experimenting with videotapes, a medium deeply tied to how many of us remember our childhoods. These tapes, with their grainy, imperfect footage, feel like fragments of dreams themselves as we grow older, blurring the lines between memory and imagination. In Poor Image, I seek to connect these personal, dream-like memories with the collective experiences we all share, revealing how the ordinary becomes a gateway to the past, shaped by both our individual histories and a shared, universal nostalgia.



Film 


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