The swirls of translucent fabric and the roses are reflections of the female experience and personal fantasies, which evoke associations of the Baroque. The material - fluorescent nylons, polyester blends, sequined lace, pearls, glitter, rhinestone and spray paint – are a mixture of Asian contemporary pop and kitsch culture, derived from surface and appearance. These “found” materials are chosen, bought, and collaged into an abstraction of an archetypal fantasy character: a princess or prince, a bride or groom, a witch or a vampire, a Buddha or a devil.

The personal movements of my hands and fingers that twist or drag the fabric are physical responses to dream and desire, and is linked to my body. The working process, with a masquerade of feminine material, reflects the idea of theatricality and performativity. Each flower is formed by drawing - pulling and affecting other areas of the material, like the cause and effect of the stars in the galaxy. The work has become process oriented and improvisational as every gesture is made from intuition. The fiction of the commodity, inspired from the idea of shopping, is a form of mass imagination. The mystical and material fantasy is less built upon, but curated around the central node of the spherical globe of exchanges. Desire is appropriated from the materialistic world and from life. Using saccharin, candy-like colors, fabric is layered with poured paint, transforming itself into an all-over color saturated painting relief.

It is also inspired by Borges’ Tlon, Uqbar, Orbis Tertius, which is a fantasy of mirror and encyclopedia, and a critique of standardized cultural massive pleasure of goods. In today’s world of industrialization and flow of interaction, our most intimate personal desires and fantasies are perhaps merely adaptations, reoccurrences of the same story, sometimes Baroque, sometimes Disney, always prefabricated.