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 and transition of my thoughts from initial sketching the idea to painting onto a canvas/paper, and then from the painting to a tapestry.

The key materials I use in my tapestries include Japanese paper and ink, golden & silver thread, stainless steel wire, rubber, nylon, bark and wooden branches... all of which add intricacy to my work and the same time, the combination of different materials allows me to push my boundaries to explore the possibilities in a traditional weaving and create tapestries in modern context of our time.  ​

I believe my work stands to balance traditional roots of weaving alongside the current  modern era.  

For example, with the loose warp, which is traditionally considered unsuitable for tapestry techniques, I identify it as a new transformation of ‘perfection’.   With this balance,  I seem to work on an irregular flow which are impromptu and hold a deep meaning to me.  With a sudden disruption in the symmetry of perfectly woven lines, I identify imperfection as a huge key element to my work, which represents uncertainties, constant change, no definite plan and most importantly the imperfections of life.