On the pros and conss of oblique communication, labyrinthine tactics for survival in Chinese diasporic realities and musings on how my mother and I navigate these treacherous entanglements.
In the ongoing column Dark Cousin, I offer embodied reflection into the evasive territory of the visible and invisible, and take readers down a meandering path of coded language throughout history.
From the many conversations with my mother, I write a letter to Ursula, an ancestral entity whom I share our mending journey with.
An intergenerational mending practice two years in the making, between my mother Maria Ling Qing Huang and myself.
An essay reflecting upon literal and metaphorical modes of mending as an artist and educator.
In this iteration of Thunderclap, the show was set up as part-shop, part-sewing workshop and part-exhibition. Thunderclap employs steganography to publicly redistribute the erased work of Chinese anarcho-feminist He-Yin Zhen (1886–1920) through the medium of clothing accessories.
The exhibition Hutong Whispers is a steganographic catalogue of steganographic publishing projects camouflaged as a laundry line.
‘Thunderclap’ is a steganographic zine, that piggybacks on fashion accessories to publicly distribute the suppressed writings of Chinese anarcho-feminist, He-Yin Zhen (1886-1920).