In 2010, I moved out from my hometown Taipei, Taiwan to London. As a Taiwanese artist living in the UK, I have travelled from one cultural context into another. Changing environments not only mean a physical change but it also leads a change to experience, ideas and their effect, which later effect my art practices. What starts out as harmonisation soon becomes cacophony of confusion.
My current practice examines how I use my work and the handcrafting skills to negotiate transnational passages and to position myself in a new society; how I found my belonging and the sense of security by creating the “social elements”.
Craft skills were passed down to me from my mother. She taught me knitting, crochet, sewing and embroidery skills. As a result, my practices also are richly imbued with personal themes and nostalgia. I like the idea of handcraft and I always feel safe and comfortable while handcrafting. Spending countless hours repeating the same process, it is also the way of examining the value and the meaning of manual work. Craft only exists in motion, it is a physical production process. For me, craft is made to mean and craft always involves direct engagement with specific material properties.
The choice of newspaper as my favourite material is emotionally meaningful. The text of newspaper goes on to assert that a relationship between work and viewer. Newspaper records daily news of our life and it is only last for one day; it is also a reflection of humans’ short life. Also employing English newspaper is a metaphor of a life in western culture, vice versa with Chinese newspaper.
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