I am a textile artist and print-maker facilitating space to discover and celebrate what unites us. With an anti-racist, feminist, disability and climate justice approach, access to spaces where learning, politics, and arts overlap and influence each other are widened. To increase the quality of practice, by managing energy levels and overwhelm, I integrate neurodifferent adaptations with somatic practice. I seek collaborators and organisations who have similar motivations to the work that they do and how they build collaborative connections.
By being intentional with themes, materials, and relationships, I design, deliver, curate and produce workshops and events for a diverse demographic of audiences who are interested in learning more about themselves and others. These include interactive, experimental, and skill-sharing activities with stitching, printmaking, and collaging.
Research-based talks, provocations, and seminars have been presented on anti-racist East and Southeast Asian solidarity through a spectrum of communities examining the role of arts with politics. Pulling multiple threads together often takes the form of mind mapping, dialogue, and learning from what’s been done before. Influences include ancient and indigenous craft practices with nature, abolition principles, creative and somatic resilience training through Migrants in Culture Saturday School programming; resource sharing, hospitality, and alternative economics (ruangrupa); collaborative autoethnography from difference (Heewon Chang, Faith Ngunjiri, Kathy-Ann C Hernandez) and biomythography (Audre Lorde), in addition to many other grassroots principles around justice and care. I explore mindbody and relational approaches to accountability, boundary setting, recovery and repair.
During printmaking, I use motifs and symbols to represent connectivity and transformation. Carving tools mark out relief surface from sheets of linoleum - a natural material that is recyclable and biodegradable. Non-toxic inks are rolled onto the surface, ready to press on to the material. I use surface materials and processes where possible that minimise impact on the environment. For example, repurposing archival papers, repurposed photographs, cardboard and upcycled fabric. When screenprinting, I use paper stencils and natural dye print paste processes to lower chemical use caused when traditionally exposing screens. Natural dye pigments are extracted from food waste or organic matter.
The aim is to create responsibly, repurpose existing materials so the earth can replenish itself, and learn through overlooked or underrecorded narratives and ways of communing that have sustained humanity steadily for centuries. By including diverse histories, rituals, and customs, we enrich and expand British cultural consciousness and interrogate the role and responsibility of technology, human labour and stewardship in a globalised age.
How can we build many worlds outside of divisive attitudes and systems, so we can thrive alongside each other?
