collage
a selection of hand stencilled works on textiles collected from travels
David CheahEternal knot variation, 2023
Symbolic and auspicious in many cultures, I like using the eternal knot as an homage to my ancestors.
They travelled continents in search of a better life and the interlaced knot-work is symbolic of the intermarriage of cultures, traditions and ideas as well as an openness to the new. The designs reference Lao temple stencilwork, Persian and Chinese ornamentation and fretwork from my ancestral clanhouse in Malaysia.
Stencilled Australian fabric acrylic on Balinese hand-woven cotton, Hmong vintage embroidered indigo cotton from Laos and horsetail hair canvas. Approx. 30 x 40cm.
Symbolic and auspicious in many cultures, I like using the eternal knot as an homage to my ancestors.
They travelled continents in search of a better life and the interlaced knot-work is symbolic of the intermarriage of cultures, traditions and ideas as well as an openness to the new. The designs reference Lao temple stencilwork, Persian and Chinese ornamentation and fretwork from my ancestral clanhouse in Malaysia.
Stencilled Australian fabric acrylic on Balinese hand-woven cotton, Hmong vintage embroidered indigo cotton from Laos and horsetail hair canvas. Approx. 30 x 40cm.
David CheahTrade winds: of cloudy and clouded connections, 2022
Trade winds and trade routes have played crucial roles in the migration of my ancestors and also paved the way for rich cultural exchanges which included many design influences. I am inspired by the curlicue cloud motif with its many Chinese, Japanese and Javanese variations as well as the geometric fretwork found in my ancestral clanhouse in Penang, Malaysia.
Stencilled Australian fabric acrylic on Japanese fabric, horsehair and Lao cotton with Hmong embroidery. Approx. 30 x 40cm
Trade winds and trade routes have played crucial roles in the migration of my ancestors and also paved the way for rich cultural exchanges which included many design influences. I am inspired by the curlicue cloud motif with its many Chinese, Japanese and Javanese variations as well as the geometric fretwork found in my ancestral clanhouse in Penang, Malaysia.
Stencilled Australian fabric acrylic on Japanese fabric, horsehair and Lao cotton with Hmong embroidery. Approx. 30 x 40cm
David CheahA walk amongst the lily ponds, 2022
Baby carrying cloths used by Hmong people on their backs are often decorated with indigo dyed batik, appliqué and cross-stitch embroidery. I was told the designs sometimes refer to village landmarks with colourful appliqués indicating how sunny their village is. I can’t help but feel this village is like a landscaped garden with well manicured garden beds amidst lily ponds.
Stencilled Australian fabric acrylic on Japanese fabric, Japanese indigo ‘kasuri’ ikat and indigo batik cotton with Hmong embroidery and appliqué. Approx. 30 x 61cm.
Baby carrying cloths used by Hmong people on their backs are often decorated with indigo dyed batik, appliqué and cross-stitch embroidery. I was told the designs sometimes refer to village landmarks with colourful appliqués indicating how sunny their village is. I can’t help but feel this village is like a landscaped garden with well manicured garden beds amidst lily ponds.
Stencilled Australian fabric acrylic on Japanese fabric, Japanese indigo ‘kasuri’ ikat and indigo batik cotton with Hmong embroidery and appliqué. Approx. 30 x 61cm.
David CheahPaths home, 2022
Baby carrying cloths used by Hmong people on their backs are often decorated with indigo dyed batik, appliqué and cross-stitch embroidery. I was told the designs sometimes refer to village landmarks with colourful appliqués indicating how sunny their village is. For a nomadic people, I imagine these could be little maps of home. One never knows what path one’s child will take when not all roads lead back home.
Collaged with painted Myanmar silk and Japanese kimono fabric, I’ve drawn inspiration from the hexagonal tortoise shell ‘kikko’ motif. I guess it’s convenient for a tortoise to have its home on its back! But for me, home is where friends always have my back.
Stencilled Australian fabric acrylic on Japanese cotton, Myanmar silk and indigo batik cotton with Hmong embroidery and appliqué. Approx. 30 x 61cm.
Baby carrying cloths used by Hmong people on their backs are often decorated with indigo dyed batik, appliqué and cross-stitch embroidery. I was told the designs sometimes refer to village landmarks with colourful appliqués indicating how sunny their village is. For a nomadic people, I imagine these could be little maps of home. One never knows what path one’s child will take when not all roads lead back home.
Collaged with painted Myanmar silk and Japanese kimono fabric, I’ve drawn inspiration from the hexagonal tortoise shell ‘kikko’ motif. I guess it’s convenient for a tortoise to have its home on its back! But for me, home is where friends always have my back.
Stencilled Australian fabric acrylic on Japanese cotton, Myanmar silk and indigo batik cotton with Hmong embroidery and appliqué. Approx. 30 x 61cm.
