Ara (2025) is a multi-panel, mixed-media installation arranged in a grid of four columns and three rows. Fabricated from wood, hand-dyed fabric, staple pins, nails, black pigment, and textile ropes, its suspended panels hang from one another in a chain of material dialogue.

Installed upon a corner wall, the placement frames the corner not as a periphery, but as a generative crossroads and a site of convergence. The materials themselves constitute a language. Every gradient of hand-dyed fabric holds memory and intention within its fibers. Every stitch is a form of mark-making. Every pin puncture and each tensioned rope are not passive surfaces but active documents. Through this material exploration, I reinterpret textiles as dense, tangible texts.

Yeepa! (2025) is a textile installation with monoprinted fabrics hand-stitched onto a textured, dark surface. This slow, deliberate process of stitching becomes a literal and metaphorical act of recording—one that leaves a trace of the body, of time, and of labor in the material. The textile is suspended above an earthy bed of black wood mulch, an anchor that localizes the work’s abstract flight and tethers it to the reality of a specific place. In this work, the use of a double serves as a kind of refraction—a bending and splitting of a point of origin to reveal a visual spectrum. It suggests that to move through the world is to exist in multiple, simultaneous states of being.

This is what I consider a condition of continuous superimposition, carrying the past and present, here and elsewhere, memory and immediate reality, all at once.

I deploy opacity and illegibility as aesthetic strategies that construct the tactile space within the artwork as constellations or fragments of thought that evade a singular, digestible narrative. Rather, I invite viewers into a field of experience—an encounter that, perhaps, also stimulates personal interpretation.

Rhizome (2025) operationalizes Carl Jung’s metaphorical proposition that “life has always seemed to me like a plant that lives on its rhizome. It’s true life is invisible, hidden in the rhizome… What we see is the blossom, which passes. The rhizome remains.” The work explores textiles as dense contexts and interwoven narratives stitched together to form a singular body. Each constituent fabric functions as a unique “blossom”—a tangible aesthetic manifestation replete with its own microhistory, a narrative encoded in its materiality and technique. Through varying dyeing, stitching, and image transfer techniques, Rhizome articulates the migratory patterns of artisanal knowledge across cultural and temporal boundaries. Thus, while each textile retains its autonomous narrative, it is subsumed within the larger work, revealing latent, subterranean connections and a conceptual rhizome. This rhizomatic web uncovers invisible histories of labor and transcultural exchange, situating meaning within the interstitial spaces that these stitched connections both create and occupy.