‘Good morning china’. This is my mum’s vision of the past. While poverty was nation wide and people laboured all day long under the hot sun represented by the naked bodies in the mountains, her spirit was high and happy. The children on the boat represent happiness and joy. The girl in pink is me playing around signifying creativity and silliness shown through my mismatched shoes. The kid on the left is my cousin Jenny. She and I spent many hours playing together. In mother's memory, although people lacked material wealth, there was no depression, no ambitions for fame or money.


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Good morning China!

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together with my assistant (who is born in China, assists me doing translation work, both linguistically and culturally), we’ve done design research into objects that reveal and conceal, or somehow touch upon this boundary of private and public, and of national identity.

One of which are traditional and folk Chinese architectural frames, as visual modes to contextualise and frame my mothers drawings.

For example windows with lattices, otherwise known as leaky windows are used for light and ventilation but also to create distance between scene and audience and also serves to hide and yet reveal certain features of the environment. It is also meant to create a spatial experience: so that the scene changes depending on where you walk.

I’m thinking through this idea of ‘framing’ as in the act of contextualising stories of others and my own, but also to be weary of other violent forms of framing, as in manipulating, extracting or wrongly incriminating.

As an artist/designer/daughter, my role is to listen to her stories, frame and publish.

Framing is to give context of her reality and how she perceives it. But to frame someone is also understood as the manipulation of someone elses actions. To misrepresent someone. I have to be aware of this line.

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Good morning China!