Canvas:
The work is painted on hand-selected Myanmar fabric chosen for its contemporary character. Rather than representing a specific ethnic group or historic pattern, the fabric reflects the present moment. Its openness allows the surface to relate broadly to women across Myanmar, positioning the textile as a shared ground shaped by current realities rather than fixed identity.

Technique:
Acrylic paint is applied directly onto the fabric, which has been carefully prepared with multiple base layers to create resistance and a surface quality similar to a traditional canvas. This preparation allows for controlled application while maintaining the material presence of the textile. Collage elements composed of documentary photographs by Myanmar photographer Yan Naing Aung are embedded into the surface and integrated with paint, merging documentation with painterly gesture.

Process:
The work began as a commissioned image for the film We Bloom in Spring, for which the artist was invited to create the official movie poster. In response, the painting developed beyond a singular promotional image into an independent artwork. The process involved establishing the prepared fabric as a neutral ground, followed by the gradual construction of the figure through restrained painting. Documentary photographs were selected and collaged to reflect women’s involvement across different spaces of the revolution, then bound together through repeated layers of paint. The work evolved through this dialogue between cinematic narrative and lived political reality.

Artwork Description:
We Bloom in Spring reflects on women’s presence within Myanmar’s revolution, focusing on endurance rather than heroism. The work considers how women move between roles—fighters, supporters, survivors—without fixed identity or recognition. By avoiding specific ethnic or symbolic markers, the figure remains open, echoing the shared experience of countless women whose participation often remains unnamed.

The title speaks to growth under pressure. Spring is not presented as a season of ease, but as a moment that emerges through exhaustion, persistence, and collective effort. Blooming becomes an act of refusal—to disappear, to submit, or to be erased.

By embedding documentary imagery into the body of the figure, the work collapses the distance between individual presence and collective struggle. It acknowledges physical fatigue and emotional weight while affirming women’s central role in shaping resistance. We Bloom in Spring stands as a quiet assertion of continuity—of remaining visible, rooted, and alive within ongoing uncertainty.