This woven series incorporates the craft of traditional market basket weaving, still used in the daily lives of Myanmar women—an art form and way of life passed down over generations.

Weaving serves as a fitting metaphor for living history, where cultures, traditions, and ideologies are in continual motion, overlapping and bound to each other through human dynamics. Throughout the career, my artwork has drawn on multiple influences and themes. In this series, I have woven together these various themes to create a blended aesthetic, highlighting my diverse interests and passions. Fabric transcends its materiality, becoming a battleground for patriarchal and feminist ideals in the societal narrative. This artwork intricately weaves together history, culture, and religion, presenting a visual narrative of struggle and resistance in Myanmar.

In the realm of art, pinpointing a singular reason becomes elusive; everything intertwines, intertwines, and weaves one story into another. Within this artwork, I unveil a myriad of stories and concepts, intricately woven to mirror the intricate tapestry of the real world in Myanmar.

The series will prominently feature fabric imported from the city of Amarapura, highly valued for its ‘acheik’ patterns—intricate waves and stripes used for centuries. While Amarapura is a historic center of acheik weaving, the local industry is under threat from cheap imports. My series will source material directly from Amarapura weavers.