During my walks, I came across these beautiful fragments of broken tiles. I wasn’t sure why they were scattered in a nature park. A friend suggested they might have been illegally disposed of, or perhaps used to regravel a pathway. Whatever the reason, it felt like an unexpected discovery. Each time I passed through the park, I collected a few pieces, drawn to their shapes; I wish I knew the story behind them.

Then, just last month, without explanation, most of them disappeared as quickly as they had appeared. When I shared this discovery with my husband, he mentioned that the pieces had been there all along, and it is only this year that I began to notice them. It made me wonder how our attention changes over time and how familiar places can reveal something new when we begin to look differently.

How many things exist quietly around us, waiting until we are ready to see them?

Around the same time, I noticed something else that felt quietly thought-provoking. After the rain, water washed the leaves away from the pavement, yet the cracks in the surface remained. It made me think about impermanence. The pavement appears solid and unchanged, but even the concrete will slowly deteriorate, eventually returning to nature.

These small incidents made me reflect on how quickly things shift. The area beside the park is also facing urbanisation and change, adding another layer to these observations. I began to wonder how I might capture this sense of transition in my artwork.

Translating these moments into art

These moments made me think about fragments, disappearance, and the illusion of permanence. The tiles appeared, then vanished. The leaves washed away, yet the cracks remained. Everything felt temporary, even when it seemed fixed. How would I translate this into art?

Working with Concrete, Resin and Stitch

Continuing with my exploration of concrete and stitch, I attempted to combine these with the fragments and resin. In this work the concrete reflects human intervention and construction, while the stitch represents nature slowly taking over, and resin represents change.

The initial tests of combining resin and concrete were great but then came the hard part: combining it with thread. And I learnt a few things:

1. Concrete is porous: I was not able to consistently replicate the initial successful experiments, and after doing some research, I realised concrete is a porous material; I was extremely lucky that it did not seep through the concrete during the my first try.

2. Experiments may look pretty on their own, but not together: I had the idea of wrapping the found tile fragments with wire or thread. They did look really nice on their own, but when combined with concrete, the fragments became visually lost.

3. Knowing when to give up on an idea: I worked through many rounds of trying to combine the stitch, concrete, fragments and resin. At the 5th round, I had decided to let go of this idea, even though I really wanted it to work. I will probably revisit it at a later date, but after working on it for over 6 months, I knew that it would just have to live on in my sketchbook for the time being!

Back to the drawing board!

Yes, it’s back to the drawing board. And I decided to make more organic pieces with the concrete, stitch and tiles. Here is what is happening so far, and like the direction that it is going in. I’ll be updating soon to see what’s next!

Read more about my art process

I am really excited to be part of the Making Zen lineup this May! This is the third time I will be participating in this textile art focused retreat organised by the amazing Kate Ward. This online retreat will gather nearly 40 talented artists to host one workshop each over the course of five days (4-8 May), and those workshops are totally free for anyone to watch for 24 hours. It’s an incredible opportunity to get inspired, connect with new friends and artists, and improve your craft as well add new stitches to your own visual stitch dictionary!

With this incredible lineup of artists, you can be sure that a wide range of topics will be covered - I’m particularly excited for Rebecca Desnos’ workshop on Botanical Ink from Flowers, and Textile Vessels from Ellie Beckthe VIP . My own workshop will be about Broderie Anglaise scallops, and I will be taking you through how to draw and sew them to create a beautiful coaster.

Benefits of VIP Pass Access

If you’re someone who prefers to move at a slower pace (like I do), the VIP passmay be for you. It allows you to:

• have VIP access on 21 April (9am Atlantic: click on link for your timezone) before the retreat starts on 4 May (12pm Atlantic: here's a time zone link!)

• access 6 bonus workshops from past retreats

• revisit the 40 pre-recorded workshops anytime

• explore the techniques without rushing

• access additional patterns and resources from the artists:I’m contributing 4 extra patterns!

• build your own stitch dictionary gradually

The VIP pass is available at a discount USD97 (original USD127) before the retreat starts on 4 May.

If you’d like to learn more about the retreat, check out the Making Zen website. You’ll be able to get all the schedule details there, as well as answers to some common questions about the retreat. Choosing the VIP pass also supports my art practice and teaching journey. Your support allows me to continue developing new techniques, sharing my process, and creating more in-depth workshops like the Broderie Anglaise sessions many of you have enjoyed.

I’ll hope I will see you there!

Broderie Anglaise is a technique that I come back to when I’m exploring shapes that are inspired by nature. The eyelets, bars/cords and scallops evoke a sense of fragility and delicateness. I’m thrilled to share that my upcoming Broderie Anglaise workshops covering eyelets, stems, bars/cords and scallops are now Culture Pass claimable in Singapore, making it even easier for you to join in this slow, meaningful craft practice.

In these hands-on sessions, you’ll learn the fundamentals of creating your own Broderie Anglaise motifs — from transferring designs and stitching with precision, to exploring creative compositions on fabric. Whether you are curious about hand embroidery, or an experienced maker looking to refine your technique, these workshops offer a space to slow down and reconnect through needle and thread.

Each participant will receive all materials needed, instructions and guidance to complete a small embroidered piece you can take home. Expect a calm, mindful environment where stitches become a way of storytelling — shaped by rhythm, texture, and light.

Broderie Anglaise Workshops Available

Choose between Eyelets & Stems, Cutwork & Cords, and Scallops. Dates are available from May - August 2026. You can now register directly through the Culture Pass website and use your credits to claim a spot:
👉 Broderie Anglaise Workshop — Culture Pass Listing

Come stitch with me and rediscover the quiet joy of handmade craft.

As a textile artist, I’m often asked about my creative process:

How do I go from my nature walks to stitch?

What is your thought process?

How do you come up with the inspiration?

I am usually on the hunt for new textures and inspiration during my walks, and these are the times I have lightbulb moments. However, sometimes I take walks with no expectations and witness beautiful things. For example, I was walking from the train station to Fort Canning just last month, and a gust of wind wound its way through the street, picking up and twirling a cluster of brown leaves in the air. It was an amazing scene, and this quiet moment reminded me of murmuration. What I saw definitely went into my journal and sketchbook!

Over time, I’ve noticed a pattern in my process, each stage helping my ideas slowly take shape:

observation → reflection → word association → sketching → stitching

I don’t think this pathway is unique, and I believe many follow something similar.

When Taking Walks, Slow Down, Observe, Record

When you walk, look up and look down (not at your phone)

I can’t stress this enough! See what you spot in all the nooks and crannies of your walk. You might find some hidden gems. And don’t forget to pause during your walks to do a quick sketch, take pictures and videos. Due to the extreme heat here in Singapore, I only take pictures and videos which I then take back to my home studio for documentation.

Here are a few questions to ask yourself along the way:

1. How do you feel in this moment?

2. What interesting shapes and textures do you see? Describe and record them.

3. Was there anything you spotted this time that you didn’t see on your last walk?

4. What sparks curiosity and makes you want to learn more?

5. What are the questions that go through your head as you observe?

During this time, think of yourself as a sponge and absorb everything without judgment. It may take several walks before ideas begin to form. To keep things fresh:

1. Take an alternative route to or visit a completely different location.

2. Take another artist, or a friend, with you on the walk! Another pair of eyes may spot completely different things.

3. Observe how things change over the months or seasons. If something caught your eye during the first walk (e.g. mushrooms on a tree stump), note down how this evolves.

When I observe these things and ask these questions, I am not searching for an image to copy. Instead, I am paying attention to qualities.

Slowing down allows these subtle details to surface.

Taking Observations to Brainstorming

Once I’m back in the studio, I document everything: my sketches, videos and even sounds that I have recorded.

And before I even start sketching, I write.

I extract keywords from the documentation and start my brainstorming. Perhaps, mushrooms or concrete or chirpping birds may have featured frequently so I jot this down.

Word Association: Research & Creating Links

By this stage, I have a list of words from my walking notes. I circle the ones that stand out, then research and explore connections between them. This process can unfold over days; sometimes stepping away helps fresh insights form. Word association shifts my focus from appearances to qualities and relationships.
For example:

Moss → organic → irregular → resilient → layering → pioneer → renewal

From here, I decide which word (or words) resonates with me. At this stage, it is still exploratory, and it is more about the feeling of what I have seen.

Sketching - Translating into Lines

I only start sketching once I have chosen the word(s). At this stage, the sketches are quick thumbnail sketches; they are not supposed to be finished images. Instead, they are investigations and help me translate ideas into visual language before thread enters the picture.

By the end of this stage, a few sketches will naturally stand out as the foundation for my textile work.

Sampling

The next step is sampling and asking the questions such as, what type of stitch and thread, and even colours should I use.

Sampling is an essential part of my artistic process, and it is that part I enjoy immensely. It’s also where my visual stitch dictionary comes in handy as past explorations allow me to quickly identify the possibilities without starting from scratch. Here, I will be asking questions like:

• What type of stitch conveys this idea best?

• Which thread or colour palette feels right?

• Should I stay with free-motion embroidery, or experiment with other stitch techniques or even mixed media?

I used this approach when exploring my coral-inspired work and my moss series. Both began as quiet observations during a walk, then grew through this same chain of curiosity, reflection, and making.

Stitching Mindfulness Into Art

Every artwork begins with slowing down and paying attention. For me, nature walks aren’t just about collecting visual references; they are about connecting, and noticing textures, movements, and rhythms in the environment. I observe patterns, record sensory details, and reflect on how they make me feel. All of this eventually shapes the stitches, colours, and textures that appear in my textile pieces.

In each stage, from observation and journaling to sketching and sampling, there is curiosity, reflection, and making. It’s a loop that keeps evolving, much like nature itself.

On Saturday, 28 March 2026, I will be joining an afternoon of conversations on regional sulam traditions at aNERDgallery. The session begins with stories of heritage, and of cloth, with sharing from curator Tony Sugiarta and storyteller, Hafiz Rashid. My role in this gathering is not simply to teach a technique but to extend the conversation forward.

When Tradition Is Not Frozen in Time

Embroidery is often positioned as something historical: preserved, documented, admired. But stitch evolves with the hands that hold it. In my own practice, I work with broderie anglaise — a technique historically associated with delicate whitework — and recontextualise it. I use its eyelets and scallops to evoke the textures and shapes of corals, and the cycles of decay and renewal.

For me, stitch is a way of observing.

A way of slowing down enough to truly see.

This workshop is an invitation into that way of seeing.

Extending the Conversation Into Practice

After curator Tony Sugiarta and storyteller Hafiz Rashid share stories of regional embroidery traditions, we move from listening to making. Participants will learn a foundational scallop stitch from broderie anglaise.

As with many stitches, this is a repetitive stitch, and in that repetition, you will see a shift. You will start noticing things: the tension of the thread, the curve of the fabric, the movement of your hand. Although we will be creating a small hand-stitched coaster, I hope participants will focus on the process, not on outcome. The coaster simply provides a framework for experiencing the meditative rhythm of stitch. You’ll also receive a starter kit to continue the practice at home, extending its quiet benefits beyond the workshop.

A Glimpse Into My Studio Practice

If you are new to my work, this session offers a small window into how I approach making.

The scallop stitch you’ll learn is part of my broderie anglaise vocabulary — one of the ways I translate nature into thread. I’m not teaching you to replicate my artworks, but to share the entry point.

An Afternoon of Listening, Making, Continuing

Date: Saturday, 28 March 2026
Time: 2:30 – 6:00 PM
Venue: aNERDgallery

This is for those who are curious:

• About heritage as living practice

• About how traditional techniques move into contemporary art

• About what happens when we slow the hand in a fast culture

If you have ever wondered how stitch can move from cloth to concept, this is where that bridge begins.

Over the past few years, I’ve been walking regularly to Admiralty Park and then further on to the most northern part of Singapore, Woodlands Waterfront. All in all, it takes me 2 hours. What began as a way to get my daily steps soon became something more. The park has become a sanctuary, a space to slow down, to observe, to listen.

Nature, Urban Development, and Changing Landscapes

I’ve been making visual recordings and capturing how Admiralty Park is evolving right before me. There are the natural cycles of growth and decay, but there has also been urban development. Areas of the park that once felt hidden are now opened up. Paths have been widened. And certain areas have been cleared to make way for the new public housing and a new rail line to Malaysia. Yet, nature’s rhythm continues: moss thickens over bark, fallen branches return to soil, a caterpillar traces a slow path across a leaf.

The slowing down that happens in the park is not accidental; it changes how I see. When I slow down, I notice texture. Layers. Subtle shifts in colour. Signs of decay that are also signs of renewal. That way of seeing follows me back into the studio.

My stitches become slower. More deliberate. Less concerned with perfection.

What I share is no longer just a finished piece, but the experience of that pace—the comfort of paying attention. Watching this landscape change over the years has reshaped how I think about renewal. Decay is not always loss. Renewal can appear in both quiet and dramatic ways, as development and nature continually negotiate space.

Before construction of bridge

Construction Begins

New Rail Line Complete

From Tiny Experiments to Observational Practice

At the start of the year, after reading Tiny Experiments, I began taking a more exploratory approach to my art. Instead of working toward a fixed outcome, I’m allowing myself to experiment, to observe, and to treat making not as production, but as inquiry.

This shift brought me back to both nature and stitch. I no longer want to create textile pieces that are decorative for their own sake. I want to make work that resonates: art that carries the scent of rain‑soaked earth, the stillness of a familiar park, the tender ache of a changing landscape.

Decay and Renewal in Textile Art

As I sit in my home studio, I find myself asking:

What does erosion look like in stitch? Is it frayed edges? Uneven tension? Intentional gaps?

What does renewal look like? Is it layering? Darning? Repetition that builds density over time?

In my earlier work, I explored moss and concrete as material metaphors where softness reclaims hardness and growth covers what feels heavy. I am now pushing that boundary. Given that nature has its own rhythmic cycle of decay and renewal, how does it serve to heal us when we are there?

This is no longer just about surface embellishment. It is about translating a place into material language.

Stitch as Retreat Practice

For me, stitch, whether by hand or on the sewing machine, has always been a form of slowing down. Over the years, I have understood more clearly why it feels comforting:

Repetition builds rhythm.
Rhythm nurtures steadiness.
Steadiness creates your safe space.

In a city that values speed and efficiency, choosing slowness is intentional. Stitch becomes a way of witnessing the change, whether it’s the transformation of a familiar park or the quiet shifts in my own artistic direction.

Retreat is not withdrawal; it is choosing to see, to notice what is already here.

Building Retreat Within Singapore

I once thought retreat meant going somewhere untouched, somewhere remote. But perhaps the real work is learning to build retreat where we are be it in a park, or in the studio. Through stitch, I don’t escape Singapore’s constant transformation; I engage with it. In stitching erosion, growth, and renewal, I translate attention into form.

Retreat is not escape.

It is attention made visible.

It has been over 6 years since I started teaching free motion embroidery in person, and throughout this time, I noticed a pattern.

Many students came to a workshop excited, inspired… and then unsure of what to do next. Some wanted more structure. Others wanted time to explore quietly on their own. A few returned again and again, not because they wanted “more techniques”, but because they wanted space, guidance, and reassurance.

That’s what led me to rethink how my in-person workshops are structured.

Rather than offering one-off classes in isolation, I’ve shaped my free motion embroidery workshops into a progressive yet flexible pathway that supports different learning rhythms, without pressure to move quickly or “level up”.

Please note that all participants are required to have basic knowledge of how to use the sewing machine.

A pathway, not a race

The workshops are designed so that you can:

• join at a level that feels right for you

• take time between sessions

• repeat a level if you wish

• or simply attend one workshop as a standalone experience

There is no obligation to move through every stage.

The Free Motion Embroidery pathway (in-person)

Free motion embroidery

Basic: Paint & Draw with Thread (Studio)
This is where we begin your journey. In this 4-hour workshop, we focus on:

• setting up your sewing machine for free motion embroidery

• learning how to doodle and draw with thread

• combining free motion with applique

• building confidence and coordination

It’s playful, exploratory, and intentionally unhurried. These sessions are held in my home studio and as it is a small group of 3, you will receive undivided attention.

Intermediate I: Building your visual stitch dictionary (Studio)
Here, we get a little technical but use a slowed down approach to help you grasp the techniques of creating texture and depth. Using a simple drawing as a shared guide, we explore how different stitches behave and how they can be used intentionally in your projects. We also look at how thread choices afffect the final outcome.

The emphasis in this 4-hour session is on observing, testing, and recording. This enables you to build a personal stitch language that you can return to again and again.

Intermediate II: Working with dissolvable fabrics (Studio)
This 4-hour workshop introduces dissolvable fabrics as a way to create lace-like textures and surfaces that can serve as embellishments for your projects. We explore density and structure and material behaviour.

You will learn:

• how to sew on dissolvable fabrics and choices of dissolvable fabrics available

• creating structures to hold your desired design together

• creating lace and density

Advanced workshops (by request)
Advanced sessions are offered on a need-based basis and focus on either sculptural work or broderie anglaise using free motion embroidery. These are arranged through conversation, once a foundation has been established.

What if I don’t have 4 hours to spare?

If you are unable to join the 4-hour session for the basic and dissolvable fabric workshops, join the respective 2.5 hour and 3 hour sessions at Fashion Makerspace, where the fundamentals are shared. Details can be found in the links below:

Basic Free Motion Embroidery at FashionMakerspace

Intermediate: Dissolvable Fabric at FashionMakerspace

Where does Broderie Anglaise fit?

Broderie Anglaise sits alongside the free motion embroidery pathway, rather than inside it.

These workshops focus on:

• traditional hand embroidery techniques

• surface embellishment and mending

• slow, meditative stitching

They can be taken on their own and do not require free motion embroidery experience. Many students enjoy moving between machine and hand stitching as complementary practices.

Learning at your own pace

I believe learning embroidery should feel:

• grounded, not rushed

• supportive, not performative

• led by curiosity rather than productivity

This structure allows you to grow your practice gently, in a way that fits into real life.

If you’re unsure which workshop is right for you, you’re always welcome to reach out and ask.

This is a long read!

After my first ever Affordable Art Fair, I have been using the Christmas break to think about what’s next for me. Many questions floated around in my mind: Should I continue with the moss series? Should I make more of the same, or revisit earlier works? It felt like I was in a rut — perhaps even overthinking.

So I took time to reflect on my entire practice from when I first started, and three things stood out:

1. The textile artworks I most enjoyed making were born out of experimentation, never forced, but the result of gradual, curious experimentation:

• slow stitch experiments that evolved into the moss-like forms

• combining unexpected materials, including concrete and textile

• experimenting with various forms to create 3D soft sculptures resulting in my coral works

2. Each new direction began with a question that led to observation and experimentation

3. The journey from experiment to finished artwork often took time, sometimes one to three years, according to my notes

I also found myself asking: am I feeling pressured to make art in order to sell? And how does that pressure shape my process? Can I find a way to decouple the act of making from the expectation to regularly produce?

For me a creative practice is not just about producing work, it’s about rhythm, patience, and listening to the body. But when my health issues (cue, perimenopause) enter the picture, familiar routines can suddenly feel fragile. Energy dips, focus becomes elusive, and the habits that once sustained a practice can feel impossible to maintain.

Permission to Adapt

Recently, I read Tiny Experiments by Anne-Laure Le Cunff, and it resonated deeply with my journey as an artist. And after reading James Clear’s Atomic Habits 2 years ago, I feel both books offer a great framework for creatives who are struggling to show up consistently without burning out. While Atomic Habits has helped me build systems in response to issues holding me back as as an artist, Tiny Experiments cultivates an experimental and reflective mindset rather than rigid plans. Basically, we are giving ourselves permission to adapt systems to our situation ie curiosity over perfection, and iterating based on feedback from our actions. This is the complete opposite of today’s goal-obsessed culture. Does this resonate with you?

Traditional Productivity Advice Fails

Over the past few years, I have experienced quite a number of symptoms, ranging from:

1. Brain fog and difficulty concentrating

2. Fluctuating energy levels

3. Emotional overwhelm

4. Reduced tolerance for pressure

5. A sense of grief over “how things used to be”

I tried to force a rigid routine, the ones that used to work for me but now don’t! And, unfortunately, this created more resistance, guilt, and procrastination.

What Are Tiny Experiments?

“A tiny experiment is not a goal.
It’s not a commitment.
It’s a low-stakes question.”

Instead of saying:

“I must stitch for an hour every day.”

I reframe it to:

“What happens if I stitch for five minutes, three times this week?”

I love how this focus shifts from success or failure to curiosity and observation, which is an approach that feels particularly natural for textile artists as we already work through sampling, testing, unpicking, and reworking. In fact, it reminds me of how a scientists works!

The +/- Method: A Tool Textile Artists Can Actually Use

One of the most helpful ideas in Tiny Experiments is the + / – / next reflection. It’s definitely not revolutionary, yet many times, we just plow through difficulties without taking a step back to reflect on our approaches.

At end of the day, you ask yourself:

• What felt positive (+)? Things that made you proud or helped you

• What felt draining or difficult (–)? Challenges, obstacles, misunderstandings, incomplete tasks, mistakes

The outcome is information that will help inform your next step; there is no judgement.

Here are some that I have noted down in my journal:

• (+) Stitching in the morning makes me feel calmer and less anxious

• (-) Working under artificial light increased eye strain

• (-) Working on commissions with tight timelines adds pressure and makes me feel anxious

• (next) Set aside more time in the morning for studio work, and wake up earlier.

This is still a work in progress for me, and I anticipate that over time, I can develop a personal map of what supports my creative flow, especially useful when hormones make day-to-day experiences unpredictable.

PS, this approach needs to apply to all areas of our lives, not just the art, as they all overlap!

Head, Heart, and Logic: Gently Addressing Procrastination

According to Tiny Experiments, procrastination is often misunderstood, and it’s often identified as being lazy or a problem. Le Cunff’s scientific research, on the other hand, shows that it is usually because of overwhelm, fatigue, or emotional friction. With the ever-changing world and amount of information we receive on a daily basis, we can fall into the analysis paralysis.

Tiny Experiments introduces a helpful triad to help us understand why we might be procrastinating:

• Head – What am I thinking?

• Heart – What am I feeling?

• Logic – What is the smallest next step?

For me it has looked like this recently:

• Head: “I should be more productive.”

• Heart: “I feel tired and discouraged.”

• Logic: “I will experiment on a 10 x 10cm square fabric sample.”

Often, threading the needle is enough to begin. And if it isn’t, that’s information too, not failure, but rather a cue to adjust my expectations or approach, not a sign of failure.

How Tiny Experiments Support a Sustainable Textile Practice

Textile work is a slow, tactile and intentional art practice, and after reading the book, Tiny Experiments align with this rhythm:

• Reducing pressure to “perform”

• Supporting irregular energy levels

• Encouraging self-trust

• Allowing practices to evolve with the body

• Making space for rest without guilt

This approach is especially valuable for artists navigating health issues, where the body is asking (sometimes loudly) for different pacing.

From Fixed Habits to Living Practices

James Clear’s Atomic Habits teaches us that small actions compound over time; this has been very helpful to my practice thus far. Tiny Experiments reminds us that those actions don’t need to stay the same forever and we need to listen to our bodies.

Together, they offer a powerful message for artists:

You are allowed to change how you work — and still call it a practice.

For textile artists, this might mean:

• Shorter stitching sessions

• Switching between hand and machine work

• Letting seasons (both literal and hormonal) guide output; remember nature has its own seasons of growth and rest!

• Treating pauses as part of the process, not interruptions

A Gentle Invitation & Reminder

If your textile practice feels fragile right now, consider this:
You don’t need a new routine.
Just give yourself permission to experiment.

Start small. Stay curious. Let your work (and your body) teach you what comes next.

I absolutely love creating textures with free motion embroidery.

There’s something magical about building up layers of color and texture on fabric. Every session feels like an adventure—sometimes you end up with a delightful surprise, and other times, well… you might find yourself in a tangled mess (but sometimes these end up being useful too!) But that unpredictability is part of the fun.

1. Embrace Experimentation

One of the best parts of free motion embroidery is the experimentation. There are various ways you can do this, but the two ways you can start off your journey is with different threads. There are so many types of threads for free motion embroidery that it feels like a sweet shop the moment you step into any good haberdashery. It’s really tempting to buy the whole lot! There are metallics, rayons, polyester, cottons, and even specialty threads like variegated or glow-in-the-dark can all yield unique effects.

2. Love Your Existing Threads!

Don’t splurge! Before you make a trip to the haberdashery and splurge on new threads, why not experiment with the existing threads you have at home? Or perhaps do an inventory check of the threads you have before making any purchase. It’s very tempting to get the fancy threads, but remember, your existing threads may achieve the effects you want.

3. The Importance of Keeping Records - A Dictionary of Stitches!

Because each combination can produce such different results, I highly recommend keeping a record of your experiments. Snap a photo, staple a swatch into a notebook (or slip them into a file), and jot down the details: the sewing machine you used, the threads, fabrics, tension settings, and even your thoughts about what worked (or didn’t). Sometimes, a sample you didn’t love at first glance becomes the perfect inspiration for a future project so don’t throw anything away! On other days, you could stumble upon a happy accident too - one day, my top thread got caught on the handle of the sewing machine by accident, and it ended up gradually increasing the top tension and allowed the bottom thread to shine through along various parts of the work.

4. Be Systematic—Like a Scientist!

Think of your embroidery experiments like a science experiment.

Change only one variable at a time so you know exactly what caused each effect. For example, start with a beautiful red rayon thread on both the top spool and bobbin. Stitch a small sample, then change just one thing—maybe swap out the bobbin thread for a contrasting color, adjust the tension, or experiment with your hand movements for different stitch lengths and densities. There are so many options, so start small in order not to feel overwhelmed.

Here are some variables you might try changing, one at a time:

• Thread type or color (top or bobbin)

• Tension settings

• Speed and movement of your hands (in coordination with your foot pedal speed)

• Chosen stitch type (straight vs zig-zag)

• Anything else you can think of?

5. Don’t Be Afraid to Play!

Remember, don’t take it all too seriously—the most important thing is to enjoy the process. There’s no rush to complete all your experiments in one day, or even in one sitting. Think of this as an ongoing creative journey that can evolve over months or even years - I’m still growing mine! Take time to reflect on your samples and revisit them now and then; you’ll be surprised by how your perspective changes and how new ideas can emerge from old experiments. Remember, you never know when a past discovery will spark fresh inspiration!

Each piece, crafted from repurposed garments, embodies a tangible memory from the participant’s past, honoring personal and shared histories. Through meditative stitching, the act of joining the fabrics together nurtures present self- awareness and well-being, encouraging participants to slow down, much needed in an increasingly fast-paced world. During this reflective workshop, participants will also embroider words of hope and intention, expressing their aspirations for the future.

Sign up with your library card by clicking on the images below.

In a fast-paced place like Singapore, moss feels like a soft rebellion. A quiet insistence that nature continues to grow alongside our concrete. Each time I pause to look more closely, I’m reminded of the value of stillness and renewal, and of the rich stories held in overlooked ecological pockets. I am also reminded of the beautiful poem

These quiet encounters inspired my new series of textile–concrete rock sculptures, formed through a blend of material experimentation and patient observation.

Urban Moss-Scapes: Inspiration Behind Still It Grows

Moss thriving on pavement bricks, drains, and garden walls taught me something about resilience. These tiny ecologies exist in tension with the built environment, and that contrast softness on stone, life on concrete, became the essence of this new collection. This contrast also reminded me of Wang Wei’s poem, 《鹿柴》 (Deer Enclosure) where his words evoke imagery of filtered light in the darkness of the forest and stillness and quiet growth.

For the new series, Still it Grows, I’m not trying to recreate moss in a literal sense, but to translate its qualities:

• persistence and renewal;

• delicateness; and

• the ability to transform any surface it touches

These qualities inform the shapes, textures, and stitched marks in the new pieces. In many ways, they act as small invitations to pause and notice the quiet ecologies beneath our feet.

Would you like to make your home a place of reflection, growth, and quiet rediscovery? Here’s what the pieces could look like in your home.

I’m honoured that these pieces were showcased and spotlighted at the Materials & Textures of the Affordable Art Fair Singapore.

My works will invite you to engage in the dynamic tension created by the interplay of these materials and their tactile differences. Beyond their physical qualities, the materials carry symbolic meanings: concrete as the weight of the past, and moss as the quiet persistence of life and hope. Through this contrast, the pieces encourage the viewers to reflect on their own journeys and the memories that shape them

We are nearing the end of 2025, and I’m excited to share a series of Free Motion Embroidery workshops taking place from December 2025 into January 2026.

I will be hosting in-depth 4-hour sessions in December, and 2.5-hour workshops (basic and intermediate) in January.

Whether you’re a beginner ready to explore stitching beyond straight lines or someone looking to deepen your practice, these workshops will guide you in transforming thread into texture, line, and flow.

Please note:

1. you must know how to operate a sewing machine to attend these classes. You will have a difficult time catching up if you do not know how to work a sewing machine.

2. the classes focus on building basic control and confidence, not on complex compositions.

3. this does not focus on Peranakan embroidery, only on using the sewing machine to draw and paint.

4. If you already comfortably do free motion quilting, this workshop will likely be too basic for you.

Can’t make the dates? Join my mailing list to be the first to hear when new sessions open.

Basic Free Motion Embroidery

Date: 18 January 2026, 10:30 AM – 1 PM
Location: Fashion Makerspace, Clarke Quay
Price: $110 per participant
Max 6 participants

In this 2.5hour class, I will go over the basics of setting up and drawing with a sewing machine. At the end of the session, you will get to take home your own free motion embroidered and appliqued tea towel. Link below takes you to Fashion Makerspace.

Intermediate Free Motion Embroidery - Let’s Paint with Dissolvable Fabric!

Date: 18 January 2026, 2 – 5 PM
Location: Fashion Makerspace, Clarke Quay
Price: $130 per participant

Take your skills up a notch with dissolvable fabric, an exciting technique that lets you “paint” without a base fabric. Create your own lace-like embellishments to adorn your sewing creations, and even postcards! Link below takes you to Fashion Makerspace.

Take the Bundle - Basic & Intermediate (Whole Day)

Date: 18 January 2026, 10:30 AM – 1 PM & 2 – 5 PM
Location: Fashion Makerspace, Clarke Quay
Price: Original price $240.00 Current price $225.00 per participant

Free Motion Embroidery: Paint & Draw with Thread (4-hour in-depth session)

Dates: 6 or 13 December 2025 (Saturday), 1:30 – 5:30 PM
Location: Agy’s Studio, Woodlands
Introductory price: $180
Max 3 participants — small group for personal guidance with Agy

This session will be focused on using the free motion embroidery technique to draw and paint on fabric to create texture and depth. You will learn:

1. How to set up your sewing machine for free motion embroidery

2. Explore a variety of possibilities using free motion embroidery including:

   • How to doodle and draw with free motion embroidery

   • How to add texture to your creations using thread and fabric

3. How to create your own design—choose from tea towel or cushion cover

4. Troubleshooting tips to ensure you have a smooth start when you practice at home

Sign up by clicking on the button below. The button will take you to Peatix ticketing platform.

Prioritizing Self-Care and Mental Wellness

I feel that prioritizing my well-being comes in waves. There are trigger points during the month, which alert me to slow down (or even stop), and so that’s when it becomes a priority, and then when I feel much better, I go back to doing the things that trigger me. It’s a vicious cycle!

Waking Up Your Inner Tortoise

We all have our inner tortoise, that small voice that’s inside you, constantly telling you to slow down, take a break or urging you to say, “no”. I wonder how many of us listen to it?

Arts in the Alley, 21 Tanjong Pagar Road

I was recently invited to be part of a community arts installation organised by 8M Real Estate, known for rejuvenating Singapore’s heritage shophouses, preserving their cultural charm, and Supper House, a design studio that curates arts and fashion exhibition and programmes. Together, they were looking for art that could bring and engage the public with the alley just behind the shophouse at 21 Tanjong Pagar Road.

Ashley Chiam of Supper House suggested I recreate my moss embroidery and place them at strategic locations along the alley as a means of getting the public to slow down, observe and find beauty in unexpected places. There were quite a few challenges, including whether I would want to place the actual pieces in an open and non-secure area. I eventually settled on scanning the embroidery works and converting them into waterproof outdoor stickers. This is what it looked like.

I dotted the pieces around the ally in a meandering fashion, and in strategic locations to complement the works of the other artists. It was interesting to see how people were stopping to see the works while they walked through the alley.

Reflections

Reflecting on my experience with Arts in the Alley, I realized that, just like scrolling endlessly through unfiltered streams of information online, we often move through life without truly seeing what’s around us. By intentionally placing moments of pause—whether they’re moss embroidery stickers in an alley or boundaries around my own social media use—I am creating space for mindfulness and appreciation. In our digital age, where information comes at us ceaselessly, the simple act of slowing down and noticing beauty is no longer just a luxury—it's essential for our mental well-being. Maybe that’s the lesson: that disconnecting, even briefly, isn’t just about self-preservation, but about reconnecting with the world in a more thoughtful and meaningful way. By turning down the noise, we can finally begin to hear our inner tortoise, and truly appreciate what’s right in front of us.

I'm excited to share a new direction with my ongoing moss textile art series. The first piece (see image below) that I am showing at the Sculpture Society Singapore annual exhibition—Renewal’s Path II: Still, It Grows—continues with my application of hand embroidery, free motion embroidery, and concrete, giving the pieces a contrast of softness and solidity. My textile and sculpture practice will see the new works transform into larger pieces and mark a deepening of the themes first explored in Renewal’s Path: quiet resilience, emotional repair, and the slow persistence of nature.

Moss is currently a recurring symbol in my practice. Moss is humble, small, and “invisible”, yet it performs essential roles in nature, including stabilizing the soil, creating hospitable environments for other species and absorbing water. I see moss as a metaphor for how healing unfolds—gently, in stillness, beneath the surface.

This new chapter is also inspired by the Tang dynasty poem 《鹿柴》 (Deer Enclosure) by Wang Wei. The poem speaks of filtered light, silence, and presence in a forest glade. Like the moss, it reminds me of what we might miss when we move too quickly. These works invite us to slow down and to notice the quiet spaces where renewal is quietly taking root.

I hope these works offer a sense of grounding.

Visit the Sculpture Society Singapore, Made in SG II Exhibition, 2-24 August 2025

My sculpture is a large pebble, and is a continuation of the Renewal’s Path series. It merges the rugged nature of cast concrete with the delicate touch of hand embroidery. Its weathered surface feels like a vessel of memory, rooted deeply in a sense of place. Within its cracks, embroidered moss and weeds subtly emerge, symbolizing the quiet persistence of life in overlooked corners. This contrast between the rugged concrete and the softness of textile mirrors Singapore’s unique spirit—vibrant and modern, yet richly layered with cultural history.

Through this piece, I invite viewers to pause and reflect on how, even as we experience rapid change and progress, small symbols of belonging—like pebbles, winding paths, and organic growth—steadily anchor us to our past, our identity, and the places we call home.

Have you ever tried to combine two different coloured threads in one needle to create a textured surface on your work? I love using this technique in free motion embroidery—it brings an extra layer of depth and visual interest to my work. As you can see in my latest moss-inspired work for the Singapore Sculpture Society exhibition, I layered blue and green rayon threads to recreate the rich, lush appearance of moss. My sewing machine was put on the zig zag stitch setting to add extra depth and raise the stitching. Using two threads on a straight stitch setting gives a completely different texture as you can see in the images below.

What about the Double Needle?

Yes, there are double needles available in haberdasheries for double threaded sewing. I wanted to try it out and compare the sewing result with the 2 thread in one needle option. I purchased a set; however, I haven’t had much success. No matter what I adjusted on the sewing machine (type of thread, tension, needles, etc.), I couldn’t get a continuous line of sewing; the threads kept snapping. I searched online and sought advice but I could not get any resolution. So it seems I will need to stick to my current method of 2 thread in one needle option!

How Do You Sew Successfully with Two Threads in One Needle?

Here are some tips to help you get started:

1. Choose the right needle: Since you're working with two threads, make sure the needle's eye is large enough to allow both to pass through smoothly. At the same time, your needle must be suitable for the type of fabric you're stitching on. For example, a topstitch is a better choice than a needle for silks if you are sewing on thicker fabrics.

2. Use compatible threads: Select threads of similar weight and material to avoid uneven tension. If one thread is significantly thicker or stretchier than the other, it could cause breakage or inconsistent stitches.

3. Thread them together: Thread both strands through the needle at the same time rather than one after the other. This helps keep the tension more balanced between them.

4. Consider spool placement: Position your spools so the threads unwind smoothly and evenly. If your machine allows, place them on separate spool holder to prevent tangling. My sewing machine has one spool holder, so I have one spool placed here, while the second one is put in a clear jar behind the sewing machine. Under these circumstances, I need to ensure that the thread from the jar is not obstructed so as to ensure the tension is not disrupted. You can also purchase a second spool holder, or even make your own; I have seen some sewing enthusiasts stick a chopstick to their sewing machine! Just ensure that the spool turns smoothly during the sewing!

5. Sample first! Before you work on the actual piece, please remember to sample and try out the stitches so that you have an idea what it will look like. I wrote about the importance of sampling here.

Give this Technique a Try!

For me, sewing with two threads is a simple way to add depth and a touch of surprise to my embroidery. Every combination of colour and texture brings my work closer to what I imagine in my mind. Maybe it’ll do the same for you too.

I had the opportunity to teach textile art to a group of students aged between 10 and 11, sharing my thoughts, ideas and process. While it was incredibly rewarding, it was also filled with spontaneity, as you will read about further in this post! To maintain a relatively stress-free class, a lot of thought and preparation is needed. I have listed a few important pointers to keep in mind:

1. Be Realistic About Time and Skills

Always remember the age group that you are teaching to, and with this in mind, plan for short, achievable tasks that fit within the lesson’s time frame.

Sometimes I can get very ambitious and plan for a lot of skills to be learnt but once I have the lesson plan ready, I always ask myself whether the students can learn the techniques in the timeframe allocated. I had initially planned for the children to stitch a pattern as part of the embroidery practice, but after the third lesson I realised that there was no way they could complete it within the given timeframe. This meant I had to change the entire plan that I had to something simpler!

2. Collaborate with the Class Teacher

I was really fortunate to have a passionate class teacher to work with. She enabled me to understand the class dynamics, students’ needs (in particular those who might need assistance), and any specific classroom rules. It was also useful to get an understanding of what types of art and techniques were already taught in school so that I could make references (or even build upon these) and tie it to the art they were creating in the class.

3. Encourage Teamwork

Rather than creating individual artworks, I got the children to work on a common theme in pairs. This enabled them to build communication and share problem-solving. Some of them were unhappy that they were not paired up with their friends, but after the first few lessons, the children warmed up to each other.

4. Make it Fun

I didn’t want the lessons to be rigid, and I allowed the children to explore textures, colors, and shapes with freedom. I got them to choose what they wanted to draw within a set theme, and then create their own art piece together their partners. I also included videos and a game to keep energy levels positive.

5. Use Visual Instructions

Demonstrate steps clearly and repeat instructions often. - We had a visualiser so that I could show the textile techniques to the children. After the first class, I realised that it was also extremely useful to have a video of the techniques on hand so that I could show the techniques again if needed.

Keep your language simple and age-appropriate

I always reminded myself to speak clearly and use simple language. For example, when introducing a topic like basic stitches, I would write key words on the whiteboard, have the children copy them into their sketchbooks, and then revisit those words at the end of the lesson. This helped reinforce their learning and supported vocabulary retention.

6. Prepare for Mistakes

I believe it’s important to normalise mistakes as a natural part of the creative process. I often remind the children that it’s not about being perfect, but about learning through exploration and embracing what doesn’t go as planned. One child could not get the buttons sewn the way I had taught them, but in the end he found his own way of sewing them on. In fact, he had used a technique similar to shisha; I was impressed!

7. Offer Choice and Autonomy

Letting the students choose their materials and colours helps them feel more invested and excited in the classes.

8. Have a Clear Structure

It's helpful to have a clear and simple structure to guide the session. A consistent rhythm like Introduction → Demonstration → Hands-on Activity → Sharing or Reflection gives children a sense of flow and helps them stay engaged. I find that this structure also makes it easier for me to manage time and transitions between activities.

9. Celebrate the Results

Celebrating the results is an important part of the creative journey. Unfortunately, we didn’t have time for a show-and-tell, but the school showcased the works on the premises—this helps build confidence and reinforces the value of their efforts. Even unfinished pieces deserve recognition, as the focus is on the process, not just the final product.

Singapore Textile Art Workshop in School

How do you prepare for your textile art classes? What tips do you have?

I would like to thank Xingnan Primary School and National Arts Council Artist-in-School Scheme (AISS) for having me for their textile art programme.

1. a basic skill in using the sewing machine - this means you already know how to thread a basic sewing machine and be able to sew a straight line; and

2. an open mind - when it comes to free motion embroidery, it is all about breaking the rules of what you have learned in a basic sewing class!

Sign up with the links listed below!

Basic Free Motion Embroidery ($98)

Join me on 11 July, Friday, 7-9:30pm. At the end of the basic session, everyone gets to take home their own free motion embroidered tea towel!

Learn how to:

1. Set up the sewing machine for free motion embroidery

2. Draw and write with the sewing machine

3. Combine applique with free motion embroidery!

4. Troubleshoot when you encounter hiccups along the way

   Venue & Sign up at FMS (Clarke Quay)

Intermediate Free Motion Embroidery ($120)

Join me on 18 July, Friday, 7-9:30pm. This workshop expands your free motion embroidery skills with the use of dissolvable fabric! Participants must have basic skills in free motion embroidery. Venue & Sign up at FMS (Clarke Quay)

Learn how to:

1. Select the right dissolvable fabric for your project.

2. Create textures and lace-like fabric with dissolvable fabric to create embellishments.

3. Apply dissolvable fabric in your daily sewing.

Moss are a “living testament to endurance and renewal, quietly thriving in the harshest conditions.” Gathering Moss by Robin Wall Kimmerer

So, it means I’ve been taking walks in my neighbourhood and been on the lookout for mossy patches - it’s a moss hunt! I eventually found my way with a friend to Evolution Garden at Singapore Botanic Garden last week despite the monsoon surge (aka continuous heavy rain). We got to see a variety of moss nestled between the cracks and crevices of rocks. This part of the park was very easy to find and is less than 15 minutes from the Botanic Gardens MRT train station. In fact, we were expecting a bit of walk as the Garden is large, but we managed to get there before the skies opened up! My friend and I were very fascinated by the varieties that we found, and I was very curious as to how Singapore Botanic Gardens managed to keep so many in one location.

Moss in Literature: A Reflection of Nature's Beauty

One of the charms of moss is its diminutive size, which requires us to slow down and get down very low to truly appreciate its beauty. We found ourselves constantly bending or squatting to get a closer look at these tiny wonders. and I think we were there for at least 30 minutes as there were so many different textures and colours to admire.

As I was looking at the moss, I couldn’t help but wonder how it has captivated the imagination of generations of artists, writers, and thinkers.

One of the first people I thought of is the Tang Dynasty poet, Wang Wei (王维) who wrote the beautiful poem, ‘Deer Enclosure’ 鹿柴. I first read this piece in a Tang Dynasty poetry book that my husband had gifted to me when we were dating. It has been over 20 years since I last touched the book, and it took a trip to Singapore Botanic Gardens to unlock this memory!

The poem reads a lot better when in Chinese (Mandarin or Cantonese), but the translation is as follows:

In the empty mountain, one does not see people,

yet one hears the sound of human voice.

Reflected sunlight enters a deep forest,

and comes to shine on luscious, green moss.

Translation source: East Asia Student

The poem is simple—4 lines—but it has a depth that is both profound and endearing.

I can imagine Wang Wei standing alone in a forest, having his quiet moment, appreciating the “emptiness”…being present, much like the illustration that is in my book. As day becomes night, he witnesses a ray of light shining through and illuminating the moss on a rock. The sunlight piercing through the darkness of the forest represents not only the passage of time but the beauty of nature—it highlights that when faced with inevitable changes and even unpredictability, there is always hope and renewal. I would like to think that the poet used the illuminated moss as a focal point and a visual reminder of the potential for growth and transformation in even the darkest or most neglected places. Perhaps Wang Wei found peace and serenity when he saw the moss, and as he immersed himself into the forest, it allowed for introspection and connection with the natural world.

This theme resonates deeply with my own artistic journey, where I explore the cycle of decay and renewal through textile art. I’m feeling very inspired to create more pieces that capture the beauty of impermanence and the promise of new beginnings, and I can’t wait to get started!!

Other references for moss in literature - British Bryological Society, Mosses in English Literature