Artists & Practices

The exhibition brings together artists whose practices move fluidly between craft, research, and socio-political inquiry:

Jam Wu
Working across paper, video, and participatory projects, Wu approaches image-making as a poetic and communal act. His practice foregrounds the universality of creative impulse while maintaining sensitivity to cultural specificity—where metaphor becomes a form of lived, emotional knowledge.

Kieren Karritpul
Based in Nauiyu/Daly River, Karritpul translates weaving—traditionally restricted within his community—into painting. His enlarged, spiralling depictions of fibre structures become both abstraction and cultural memory, offering an intimate mapping of land and lineage.

Forensic Architecture
Operating at the intersection of art, architecture, and human rights, the London-based collective investigates state and environmental violence through spatial analysis and digital reconstruction. In this exhibition, rubble is not residue but evidence—an archive of conflict inscribed in material form.

Chiu Chen-hung
Chiu’s sculptural installations function as acts of excavation. Reassembling fragments of abandoned structures and forgotten systems, his work proposes a form of “memory repair,” where absence is reconstituted through material imagination.

Kao Ya-ting
Through embroidery and layered imagery, Kao navigates intergenerational memory, faith, and identity. Her works merge personal archives with historical visual languages, holding emotional ambiguity within delicate, tactile forms.

Cheong See-min
Cheong’s fibre-based practice treats weaving as both method and metaphor—an act of communication linking past and present. Drawing on archival research and oral histories, her work unravels the narrative structures embedded in textiles.

Akac Orat
Grounded in Indigenous knowledge systems, Orat works across craft, curation, and education. His use of natural materials and weaving techniques reflects lived experience, situating cultural continuity within contemporary discourse.

Slavs and Tatars
Engaging the Eurasian “borderlands,” the collective merges scholarship, humour, and performance to interrogate language, belief systems, and ideology—transforming exhibition space into a site of shared knowledge production.

Huang Po-chih
Huang’s practice connects personal narrative with broader economic histories. Through stories of labour—particularly within Taiwan’s garment industry—he reveals how global production systems are lived at the scale of the family.

Rayyane Tabet
Working through installation, Tabet reconstructs historical and political narratives via personal experience. His works destabilise linear time, drawing attention to the tensions embedded within architecture and place.

jiandyin
This research-driven duo engages overlooked social realities—marginalisation, political histories, and collective memory—through collaborative, interdisciplinary methodologies that blur art and curatorial practice.

Nii Nami
Meaning “We are here,” Nii Nami foregrounds Indigenous presence through installation, film, and documentary. Their work bridges environmental, cultural, and social concerns, grounding contemporary discourse in lived community experience.