My work as a tapestry artist has always been a combination of 3 important factors: languages to communicate, rhythms to feel and time to ferment. 

The process of every tapestry that I weave is a translation of my thoughts from initial sketching to painting, and then from the painting to a tapestry.

The key materials I use in my tapestries include Japanese paper (mashi), golden thread, stainless steel wire and rubber, all add intricacy to my work, which created by using one of the most ancient weaving techniques. 

I believe my work stands to balance traditional roots of weaving alongside modern realities. Even with the loose warp, which is traditionally considered unsuitable for tapestry techniques, I identify it as a new transformation of ‘perfection’ in the contemporary context. 

During my long weaving process, I seem to work on an irregular flow which are impromptu, or a sudden disruption in perfectly woven lines, I find these parts of unplanned imperfection as a huge key element to my work, which represents uncertainties, constant change, no definite plan and most importantly the imperfections of life.