Installation

Cotton thread, polymer clay, freshwater pearls, oil paint, dry pastels, water color, glass beads, Chinese knotting cord, mother-of-pearl strips, silk brocade, taffeta, 18” x 34”, 2024.

Drawing inspiration from Chinese mythology and folklore, this project titled: “Season of Change” reinterprets the story of the Chinese Zodiac race in the form of two canvas scrolls, using a combination of upcycled, locally-sourced materials. The production of this piece was executed during my residency at the Maison De La Culture NDG fall 2024 in Tio’tia:ke/Montreal, Quebec. Each panel has been rendered in reference to Ming Dynasty portable textile shrines, serving as vessels that carry knowledge and memories from generation to generation, continuously taking on new forms and context over time.

The folklore referenced in this piece is the ancient tale of the Chinese Zodiac race, wherein animals were challenged to compete with each other to earn their place on the Zodiac. I choose to focus on how the powerful dragon was willing to sacrifice winning first place in order to help a farmer save his barn from a fire by summoning rain, and rescuing the rabbit from drowning in the river. Each of these choices by the dragon embody how solidarity requires sacrifice, and how we can use our collective consciousness/resources to help those outside of our immediate communities.

“Season of Change” challenges the notion that colonization and imperialism are all in the past. Making and presenting art on stolen land calls attention to the illusion of safety that is assimilation and proximity to whiteness and the colonial western empire. The context of my work combined with themes contained in the referenced folklore poses questions such as: How do we move beyond separatism towards interconnectedness and solidarity? What does care look like when extended to those we perceive as different to us? What are we willing to sacrifice in order to be in true solidarity with those who require it? 

This project employs a wide array of craft materials and techniques traditionally associated with feminine craft, such as embroidery, Chinese knot making, and bead work. This integration of gendered craft mediums with fine art not only challenges the hierarchy between "high" and "low" art forms but also highlights the critical role of feminine craft in preserving cultural memory. By doing so, it actively engages with feminist dialogues on the value and visibility of traditionally undervalued labor, often relegated to women, feminine people  and marginalized communities, while disrupting patriarchal norms through art-making.

As an additional part of my residency project, I raised a little over $300 CAD for a local anti-imperialist food solidarity group called “NDG Food Not Bombs” by raffling off custom jewelry pieces. I also facilitated two (2) Chinese knot making workshops to engage the local community, and encourage intercultural and intergenerational exchange.

Taffeta, polyfil, glassbeads, satin nylon cord, and fishing cord, 3.5' x 2.5' & 2' x 1.5', 2024.

Commissioned by the Montreal Chinatown Round table to adorn the gates of the Kahéhtaien Jardin Lumb, located in front of the Chinese Hospital. The intention behind this public art installation was to provide comfort, familiarity, and protection to the patients at the Chinese hospital, and to spark conversation and intercultural exchange between visitors to the garden. The materials I chose were intended to withstand harsh weather conditions, and biological decay. 

Glass beads, cotton fabric, beading thread, pine wood stretcher, satin nylon cord, 12” x 12” x 1”, 2024.

“愛丽” is an ode to the process of redefining, reforging, and returning home as a queer and gender non-conforming child of diaspora. Its symmetrical diamond shape and lucky Chinese knot attached to the bottom references traditional Chinese couplet cards that are placed by entry points into the home, serving as a guardian of thresholds. Two characters are rendered on the surface of the canvas with opaque purple beads: “愛” meaning love, and “丽” meaning beauty. The characters are surrounded by a sea of translucent purple beads, with a scalloped bead embroidery pattern framing them. 

The piece is backlit by a lightbulb that pulses on-and-off, in a never-ending cycle that hides and reveals the characters. “愛丽” emits a soothing, meditative ambiance with a steady rhythm resembling a heartbeat, inviting viewers to contemplate on the nonlinear &  cyclical paths they’ve taken to find home within their bodies, communities, and/or their respective cultures.