Canvas: Carefully hand-selected traditional fabric from Myanmar, chosen for its texture, symbolism, and origin. The green textile, sourced from local markets, carries associations of everyday life and domestic labor—materials often overlooked yet deeply embedded in cultural memory. By integrating fabric into the canvas itself, the surface becomes both image and object.

Technique:
The work employs a traditional basket-weaving method commonly used in daily life across Myanmar. Painted canvas and Myanmar fabric are physically interwoven, then layered with acrylic paint and collage. This method disrupts conventional pictorial space, creating tension between flat imagery and woven structure, and between control and instability.

Process:
Through weaving, painting, and layering, the work reflects on how lived experience, ideology, and resistance are inseparable. The act of construction mirrors the slow, repetitive labor of survival under authoritarian conditions, where meaning is formed through endurance and adaptation.

Artwork Description:
Untitled (After Control) continues the Woven series’ exploration of how the everyday becomes a site of political struggle in Myanmar. The woven surface functions as both foundation and obstruction, evoking the difficulty of navigating reality under systems of power that regulate bodies, beliefs, and movement.

At the center of the composition, a strong woman sits upon a traditional Myanmar dolmen dragon. A golden flower placed in her hair becomes a subtle yet potent symbol—suggesting dignity, resilience, and quiet defiance. Rather than asserting dominance, her presence is calm and grounded, embodying a form of strength rooted in persistence rather than force.

The woven green fabric occupying the left side of the background introduces visual imbalance and interruption, reinforcing a sense of fragmentation and unresolved tension. The work resists a singular reading; instead, it operates as a visual puzzle, inviting viewers to navigate between surface and structure, image and material. Through disorientation and layering, the painting reflects on how control is imposed, internalized, and quietly contested within the fabric of everyday life.