About Me.

artist statement

Born in the culturally rich region of Chaoshan in southeastern coastal China towards the end of the 20th century, I have always been captivated by the mysterious folk traditions of my hometown. After completing my undergraduate studies, I worked as an assistant in a private cheongsam studio in China, where I gained firsthand experience of the subtle tactile sensations and emotional comforts that different natural fabrics impart. This enlightening experience fueled my determination to embark on a new chapter in my artistic career in textile design. Textiles enchant me for their infinite possibilities in natural material exploration. More importantly, designing natural fabrics with varied scents, temperatures, dust, and inclusions is my approach to encouraging audiences to sense and appreciate the material's existence and obtain inner balance.

At the end of last year, I graduated from the Chelsea College of Arts, University of the Arts London, with a master's degree in textile design. Subsequently, I ventured alone to Thailand to study natural fabric dyeing techniques at a local studio called Fai Sor Kam. During my apprenticeship, I crossed paths with Daw Khun Shwe, a Burmese textile artist dedicated to preserving local folk textile culture, and Sathu Bank, a local craftsman from Thailand. This adventurous apprenticeship and these acquaintances broadened my artistic horizons in the exploration of traditional natural fabrics and strengthened my resolve to pioneer visual and tactile expressions of folk beliefs and individual spiritual worlds in the field of textile design.

As a fledgling fabric artist, my major works were created during my postgraduate studies at Chelsea College of Arts. The “Amulet Collection-Wild Attachment” was inspired by a visit to an alpaca farm. Using soft alpaca wool and fur, I experimented with double-layer cloth and tapestry techniques on a loom to weave wearable talismans, aiming to provide wearers with spiritual comfort and healing experiences, while also advocating for urban dwellers to reconnect with nature. Rooted in my superstition-rich Cantonese background, during the later stages of my postgraduate studies, I created “Wall Shrine-Bauho保号” using naturally dyed raw silk on a loom. My repetitive sketching uses thin and dense lines on a loom as if summoning deity figures, aiming to create an interactive art landscape for the public devoted to Taoist mindfulness at home.

Each of my works transforms nature into art. I believe that designs based on traditional flat cross-cutting techniques and natural fabric selections can be both practical and aesthetically pleasing. My design philosophy is rooted in the art of hand-weaving, drawing inspiration from traditional tapestry techniques and striving to integrate contemporary design methods. Influenced by my upbringing in a superstitious culture and my Southeast Asian apprenticeship journey, I have an endless desire to explore the spiritual power that specific fabrics such as natural fabrics and animal hairs bring to wearers, such as meditation, good luck, and wealth. As for design methods, inspired by the traditional Chinese cheongsam cutting and sewing process, my design preference is to create complete designs in a continuous plane weaving and then fold them into three-dimensional works. This unique design approach has been fully experimented with in my latest work "Conceptual Woven Bag." In terms of functionality, this design method is both aesthetically pleasing and durable, reducing waste and achieving sustainable design. From the artist's perspective, the continuity of this design makes my creative process filled with tranquility and internal consistency, which is also the feeling I hope my works convey to the wearers. The material selection in the "Conceptual Woven Bag" vividly demonstrates my preference for traditional natural fabrics and skilled application. The soft focus of cotton adds a delicate touch, the slight shimmer of raw silk gives it a subtle sheen, and the toughness of hemp provides a bold contrast. This latest work is also my conscious summary and innovative attempt at my artist journey over the past several years.

My artistic vision is to help audiences sharpen their sensitivity to and appreciation of the material used in an era increasingly dominated by materialism and mass-produced artificial products that occupy human senses. It's not just about fabrics but also everything seen and touched. In the future, I plan to establish solid partnerships with Southeast Asian hand-weaving artisans and conduct in-depth research on fabric materials to continue perfecting my fabric material selection and application, as well as my weaving techniques. I plan to conduct field research on traditional crafts in Southeast Asia and my hometown. The customs and deities in my hometown are similar to those in Southeast Asia, which can help me better understand and ultimately create culturally significant textile art works.