Canvas:
Carefully hand-selected traditional fabric from Myanmar, chosen for its texture, symbolism, and origin. The material is sourced from Amarapura, a historic weaving center renowned for its intricate acheik patterns — rhythmic wave motifs used for centuries in ceremonial garments. These fabrics speak to a long lineage of cultural pride, now at risk due to the decline of local weaving industries.

Technique:
Inspired by Myanmar’s traditional market basket weaving — still used in the daily lives of Myanmar women—an art form and way of life passed down over generations. This piece is constructed by interlacing two distinct painted surfaces: one, a canvas layered with acrylic and collage; the other, a Myanmar fabric prepared with a painting medium to hold pigment. These two elements are physically woven together, forming a unified, multidimensional surface that embodies both visual intricacy and conceptual entanglement.

Process:
This work reflects the persistence of identity through repetition and memory. A single vintage photograph of a Myanmar woman is repeated and collaged across the surface — not as an act of nostalgia, but as a deliberate assertion. Through each recurrence, the figure reclaims space, reminding viewers that despite political erasure and historical silence, she remains present.

Artwork Description:
I’m Still Here explores themes of visibility, memory, and resistance through the repetition of one archival image. The same photograph of a Myanmar woman appears five times, subtly shifting across the composition like a visual echo. This repetition challenges erasure by reinforcing her presence — quiet but unyielding. The work becomes a statement of endurance, confronting how women’s identities are often dismissed or displaced, yet continue to endure with strength and clarity.