indigo
a selection of natural indigo dye and stencilled pigments
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David CheahTowards a tree of connections, 2023-24
The concept of a ‘tree of life’ which features in many traditions inspired me to think of an abstract tree of connections shaped by interwoven journeys of shared experiences.
A recurring motif I use is the leaf or petal form created by overlapping circles; much like me, a product or subset of combined cultures. These forms bear patterns shared by many traditions including some found in batik sarongs worn by my ancestors. In batik terms referred to as ‘Sekar Jagad’ or 'Flowers of the Universe', these patterns can be found in many cultures in a world of interconnectedness.
Rice paste resist indigo dyed, stencilled with Indonesian indigo, French pigment, Australian vivianite pigment, fabric acrylic and varnished 24k Italian gold leaf on hand-woven Japanese ramie. Approx. 140 x 59cm.
The concept of a ‘tree of life’ which features in many traditions inspired me to think of an abstract tree of connections shaped by interwoven journeys of shared experiences.
A recurring motif I use is the leaf or petal form created by overlapping circles; much like me, a product or subset of combined cultures. These forms bear patterns shared by many traditions including some found in batik sarongs worn by my ancestors. In batik terms referred to as ‘Sekar Jagad’ or 'Flowers of the Universe', these patterns can be found in many cultures in a world of interconnectedness.
Rice paste resist indigo dyed, stencilled with Indonesian indigo, French pigment, Australian vivianite pigment, fabric acrylic and varnished 24k Italian gold leaf on hand-woven Japanese ramie. Approx. 140 x 59cm.
David CheahInterconnected lives and destinies, 2023-24
Designs inspired by Lao temple stencils are layered with interlace-work and eternity knots found around the world.
Background petal-like shapes formed by overlapping circles reference overlapping cultures and shared experiences encountered on journeys crossing borders and continents. They contain motifs found in many cultures and places including some from my ancestral clan house and batik sarongs worn by my ancestors.
Hand-stencilled rice-paste resist indigo dyed hand-woven Japanese ramie layered with Indonesian indigo, Australian earth pigments, acrylic medium and 24k Italian gold leaf.Approx. 136 x 41cm.
Designs inspired by Lao temple stencils are layered with interlace-work and eternity knots found around the world.
Background petal-like shapes formed by overlapping circles reference overlapping cultures and shared experiences encountered on journeys crossing borders and continents. They contain motifs found in many cultures and places including some from my ancestral clan house and batik sarongs worn by my ancestors.
Hand-stencilled rice-paste resist indigo dyed hand-woven Japanese ramie layered with Indonesian indigo, Australian earth pigments, acrylic medium and 24k Italian gold leaf.Approx. 136 x 41cm.
David CheahChained melody, 2023-24
Intertwined patterns found in many cultures remind me of life’s interwoven journeys, perhaps even destinies shaped by heavenly orchestrations.
Connections we make in life can turn out to be a melodic tango or a messy tangle. Nevertheless, taking us down paths we may not have ventured alone. Such is the dna of relationships.
Rice paste resist indigo dyed, Indonesian indigo, Australian, French and Lao earth pigments with fabric acrylic on hand-woven Hmong hemp. Backdrop of Lao handwoven indigo cotton. Approx. 164 x 39cm.
Intertwined patterns found in many cultures remind me of life’s interwoven journeys, perhaps even destinies shaped by heavenly orchestrations.
Connections we make in life can turn out to be a melodic tango or a messy tangle. Nevertheless, taking us down paths we may not have ventured alone. Such is the dna of relationships.
Rice paste resist indigo dyed, Indonesian indigo, Australian, French and Lao earth pigments with fabric acrylic on hand-woven Hmong hemp. Backdrop of Lao handwoven indigo cotton. Approx. 164 x 39cm.
David CheahAfter the rains, 2023-24
I was inspired by the Buddhist 'Vassa' rains retreat of 3 months observed by nuns and monks that was also the time I worked on this piece. It was a time of introspection, reflection and detachment while finding balance, a sense of place and fit in the flux of life. About how I fit into the scheme of things.
Rice-paste resist with indigo dye and hand-stencilled Indonesian indigo, Australian and French earth pigments, with acrylic fabric medium on cotton. Approx. 136 x 38cm.
I was inspired by the Buddhist 'Vassa' rains retreat of 3 months observed by nuns and monks that was also the time I worked on this piece. It was a time of introspection, reflection and detachment while finding balance, a sense of place and fit in the flux of life. About how I fit into the scheme of things.
Rice-paste resist with indigo dye and hand-stencilled Indonesian indigo, Australian and French earth pigments, with acrylic fabric medium on cotton. Approx. 136 x 38cm.
David CheahMoonlit, 2023/24
I worked on this during the Buddhist 'Vassa' rains retreat of 3 months observed by nuns and monks which culminates on the night of a full moon.
heavenly orchestrations,collective paths, ancient wisdomsattachments and detachmentsall come to bearon a moonlit night
Rice paste resist indigo dyed, stencilled with Indonesian indigo, French pigment, Australian vivianite pigment, fabric acrylic and varnished 23k & 24k Italian gold leaf on hand-woven Japanese ramie. Approx. 138 x 59cm.
I worked on this during the Buddhist 'Vassa' rains retreat of 3 months observed by nuns and monks which culminates on the night of a full moon.
heavenly orchestrations,collective paths, ancient wisdomsattachments and detachmentsall come to bearon a moonlit night
Rice paste resist indigo dyed, stencilled with Indonesian indigo, French pigment, Australian vivianite pigment, fabric acrylic and varnished 23k & 24k Italian gold leaf on hand-woven Japanese ramie. Approx. 138 x 59cm.
David CheahInterlaced, 2019
Perhaps because of my architectural background, many Lao temple stencil designs resemble layout elements of formal gardens to me.
Motifs found in traditional batik known as ‘sekar jagad’ which translates as flowers of the universe also find their place in this composition which references the Persian paradise garden concept of heaven on earth layered with intercultural connections.
I composed and drew the interlaced composition on cotton which was then traced over in wax by a batik artisan who also added traditional floral motifs. After that, I indigo dyed the piece in Pekalongan, Indonesia.
Hand-drawn ‘Batik Tulis’ and indigo dye on cotton. Approx. 186 x 42cm.
Perhaps because of my architectural background, many Lao temple stencil designs resemble layout elements of formal gardens to me.
Motifs found in traditional batik known as ‘sekar jagad’ which translates as flowers of the universe also find their place in this composition which references the Persian paradise garden concept of heaven on earth layered with intercultural connections.
I composed and drew the interlaced composition on cotton which was then traced over in wax by a batik artisan who also added traditional floral motifs. After that, I indigo dyed the piece in Pekalongan, Indonesia.
Hand-drawn ‘Batik Tulis’ and indigo dye on cotton. Approx. 186 x 42cm.
David CheahWhen worlds touch, 2024
Connections we tap intoconsciously and unconsciously create fleeting but golden moments.
Civilisations are noted for their golden age while many golden moments are overlooked and forgotten like gold dust in the pages of time.
Rice paste indigo dyed, Indonesian indigo, Australian earth pigments, fabric medium and varnished 23k gold leaf on hand-woven Lao cotton. Framed with handwoven Lao indigocotton and Japanese fabric. 119 x 46cm.
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