During the past seven years, my core practice has been about the investigation in expanded drawing with the medium of threads and fabric. I converse my thoughts and findings of what is drawing and what consists of the nature of drawings with stitching lines. The way each stitched line is introduced onto the fabric serves a purpose, and is manipulated by me in order to narrate some form of mark making nature. I defined my work as ‘embroidery-drawing’, of which the logic and key concept is fundamentally the debate of ‘what is drawing’. These ‘embroidery-drawing’ I created in the past years have been focused on image-making and narrative building, which is constructed by the composition, juxtaposition between the real world and my imagination.

 

The ‘embroidery-drawing’ narrates the strength of line-drawing. In practice, I produce a mix of short and long stitches to articulate the energy and gesture which reflect the hand-drawn movement. From a distance, the ‘embroidery-drawing’ seems like a painted image, but it is composed with ‘threaded-drawn lines’. A false drawing appearance is another speculation I like to tease with these carefully created lines. The ‘embroidery-drawing’ examines the movement of line marks, differentiating itself from the traditional language of textile. I do work on paper in my practice to manifest imagination and inquiry for my ‘embroidery-drawing’ work, also for building narratives that are composed between observations of the real world and the recurring motif/character, which acts as a mediator and imaginary friend for me.