In an antique shop on New York's Madison Avenue in 1987, Loretta H. Yang saw her first 19th century pâte de verre piece. The design was of a small mouse with a carrot in its mouth. She vowed that one day, she would create Chinese liuli with the same colors and quality.

She works hard to recreate each stage of her life through flowers, she hopes for those flowers to bloom with pride and individuality; it is poetry, it is an interpretation of the state of life.

Yang enlarges her flower sculptures to great proportions to challenge the restraints of pâte de verre; using realistic colors, she toys with the dichotomy of what is real and what is not and in turn, fabricates a new and unexpected reality. A new reality that is dependent on the fragile nature of liuli— this is a metaphor for the humility and compassion in life.