“Healing as a practice involves heavy and dark work but it is a way to make space for ourselves to imagine how we can love each other better in this world.”
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“There are ways to find cinematic language despite our unfortunate circumstances if we are open to giving it a shot.”
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“I started to try and transform the pessimism I’d felt at the start of the year by embracing chaos and nonsense in my practice, without having to justify, rationalise or prove my worth as an artist of colour.”
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“Writing about your own life is confusing—like alchemy, magic, a sleight of hand.”
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“I hope that it can help trans people grow closer to their bodies by feeling things only they can feel, experiencing things only they can experience. I hope these experiences can help us strengthen the notion that bodies should only be defined by the person who lives in it.”
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“It is important to remain rooted in a hands-on social aspect, as sometimes art making can become disconnected and theoretical.”
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“Over the last five years of Crossing Threads®, we have had to overcome some confronting truths as sisters. Our weaving practice gives us the impetus to continually evolve and learn from each other.”
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“Through our shared anecdotes, we discovered how fleeting events and stories have shaped our perceptions of cultures outside of our own.”
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“My cultural heritage has always been a site of personal loss and shame. Bidayuh people are a very small ethnic minority who are managing the impacts of colonisation and capitalism on their language and culture.”
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“Why is it that governments can invest in keeping the traditions of western musical practices alive through chamber, Classical, and Baroque orchestras, while locking our musical traditions up in the display cabinet?”
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'“So, if we start here in history, we also move back into myth which are the beginnings of the world historic.”
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“There needs to be a better understanding of how we as a culture have defined ‘great’ writing, and there needs to be a thorough look into institutions who hold and perpetuate this narrow view.”
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“I’m a big believer in life imitating art. What happens in real life is so much funnier than anything I can make up.”
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“My way of making art really comes from a DIY methodology, possibly traced back to my parents. Even though they're not artists, I believe their history of survival as refugees means that they've always been able to make something out of nothing.”
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“I’ve always believed in building relationships with people before collaboration…”
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“If there’s no true or authentic memory of an event, only that which we story in speech or written language, then the more we story them, the more alive they’ll feel.”
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“I like to write back against established beliefs or generalisations depicted in existing fiction or historical texts, such as that of the ‘sinister Oriental’ or the ‘wanton’ Asian woman.”
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“There’s a porous wall that encourages osmosis. I’m a better critic because I am a poet and vice versa. “
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‘We need to broaden not only the perspective of the creator, but also of the critic. What’s the point of people of colour creating art if its merit and its meaning are interpreted and judged exclusively through a white gaze?’
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‘Put up with labels only when they serve you.’
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