While I initially found the lack of wall text to be curious, I considered the video an effective replacement as it contextualised each artists’ practice. I found this choice effective as it rendered the creation of the works, which goes unseen until entering the showcase, when it becomes visible. Though brief, Lim tells me that this was deliberate to avoid craft’s traditional, instructional connotations. Nearby, a video plays scenes of artists working. The mini showcase of each artist’s signature tools was enriching as it encourages viewers to ascertain to which artist they belonged. With 80 embroidery designs, 6 lettering fonts, and 103 sewing stitches, this unit is a good choice if you’re looking for a reliable machine to both embroider and sew on. While the other four artists have cemented craft as a physically and emotionally demanding medium, the slow pace of Tan’s process invites the audience to consider how time might serve as another form of invisible labour. Here we have another solid sewing and embroidery combo model by Brother. Tan noted that while she has been cross-stitching for eight years, she has only made 16 pieces because of how time-consuming it is. The simple appearances and small sizes of her works betray the time taken to create them. Tan approaches cross-stitch as a painter, resulting in abstract, visually flat works that may not appear aesthetically complex. The highlight of the show for me was Jodi Tan’s cross-stitch series ‘Sense of Order,’ with most of the pieces measuring 20cm by 20cm.
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