In traditional Chinese painting, learning typically begins with copying. Students start from printed manuals, move on to original works, and eventually turn to nature itself. The Qing-dynasty Mustard Seed Garden Manual codified this pedagogical tradition into a systematic visual grammar, breaking the landscape down into its constituent elements: rocks, tree trunks, branches, leaves, figures, each with prescribed methods for brushwork and composition. This practice of distilling natural forms into repeatable, standardized units constitutes one of the defining features of the Chinese painting tradition. The world, in this framework, is organized through a symbolic visual language.

In the Le Garden Manuscript series, the artist treats LEGO® bricks as a visual system corresponding to that of landscape painting, translating the original manual page by page into the logic of LEGO®. Every element once built from ink and brush is replaced by its plastic counterpart, rendered in dry-brush white line to echo the woodblock texture of the original printed edition.

For the text portions of the manual, the artist invented a pictographic writing system she calls " LEGO® Script," composed of block-like structures reminiscent of the bricks themselves. The script draws on her experience of cross-cultural and cross-linguistic communication, as well as the visual shorthand of emoji, attempting to create a pictorial language legible across different cultural and linguistic backgrounds. Its playful, game-like quality quietly disarms the authority of the manual as a pedagogical system. The script was not designed in advance as a fixed code. It took shape during the process of making, with certain characters shifting in meaning as the work progressed, much as written language itself mutates in its early stages of use.

在传统中国绘画中，学习往往始于临摹，从画谱入手，再临摹真迹、师法造化，循序渐进。清代的《芥子园画谱》正是将这一教学传统系统化为一套视觉语法：它将山水拆解为若干基本要素——山石、树干、枝叶、人物——并分别规定其笔法与构图方式。这种将自然形态加以提炼、归纳并反复运用的方式，构成了中国绘画的重要特征之一，即以符号化的视觉语言来组织世界。在《乐园画谱》系列中，艺术家将乐高积木设想为一个与山水相对应的视觉系统，逐页将原画谱转译为乐高的视觉逻辑，以积木替代所有由笔墨构成的元素，并以干笔白描的方式再现原版木刻印刷的质感。

在处理画谱中的文字部分时，艺术家发明了一种名为“乐高文”的象形书写系统，由类似积木的块状结构构成。这种文字的灵感来源于跨文化跨语言交流的经验，以及emoji的使用，试图创造一种不同文化语言背景都可以读懂的图像文字，轻松而游戏化的视觉符号削弱了画谱系统的权威性。这套文字并非预先设计好的固定编码，而是在创作过程中逐渐生成，一些符号的意义也随之变化，如同文字在其早期使用阶段的自然演变。