My Mum Doris Tsui is an avid cross stitcher so I asked her to translate the tartan pattern from the common ‘Hong Kong Shopper’ into a cross stitch. We are currently stitching the different colour variations of these mass produced bags which is a time intensive process.
Although cross stitch is known as a hobby craft stitch, it is also thought to be the oldest form of hand embroidery and can be found throughout the world, similarly these affordable bags can be seen around the world in airport, market places and laundromats.
Commonly known as Ahmah (domestic servant) bags in Hong Kong. This cross stitch project with my Mum has a somewhat biographical link. As a family we lived in Hong Kong from 1978 to 1982. My Father is originally from Hong Kong and my Mum is second generation New Zealand born Chinese.
With artists Anne-Sophie Adelys, Anton Parsons, Andrew Hall, Bernie Harfleet, Chiara Corbelletto, David McCracken, Donna Sarten, Elliot Collins, Evan Woodruffe, Flox, Gabby O’Connor, Giles Smith, Jeff Thomson, Jermaine Reihana, John Edgar, Judy Darragh, Katie Smith, Kathryn Tsui, Kairava Gullatz, Kevin Osmond, Mandy Patmore, Martin Selman, Nate Savill, Pacifica Mamas, Peter Lange, Peata Larkin, Ruth Woodbury, Stephen Woodward and Tony Brown.
My role at Corban Estate was often about making art more accessible and for the exhibition I selected this graph paper collage. ‘hourglass’ (2017) reflects my interest in the inclusive status that collage and quilt making can share, they are both generally made with everyday materials and methods. The frame itself is based on the contrast found patchwork patterns
Thanks Mr Nick Spratt who designed these publications featuring the exhibitions I curated and wrote for during 2015 to 2016 for Corban Estate Arts Centre. What a great memento of all the incredible artists and the team at Corbans I worked with during that period.
These graph paper collages explore the optical quality of graph paper upon itself and quilt patterns. Graph paper is typically used at the preparatory design stage for many textile crafts it is not seen in the final work but essential in its inception. I am interested in the accessible and inclusive status that collage and patchworking share. Both are typically made with everyday materials and methods.
Calder & Lawson Gallery, Academy of Performing Arts, University of Waikato.
Featuring works by Jude Broughan, Judy Darragh, Max Gimblett, Kerry Ann Lee, Saffron Te Ratana, Campbell Smith, Jill Sorensen, Kathryn Tsui, Paul van den Bergh, and Sarah Williams.
Subsets draws upon the University of Waikato Art Collection to present pieces that have multiple conversing elements, and also make visual connections to ‘talk’ with other sets or pairs within the exhibition.