In theory, as an artist whose practice is centred around contemporary issues of identity, feminism, social justice, and memory, I approached this work with one inspiration: art for art’s sake! It was meant to be aesthetically pleasing, luxurious for its use of materials, and decadently self-indulgent. In practice, however, it was an embodied experience of the decadent pain one feels in the pleasure of creating something beautiful yet of no use.

Materials that I had initially been drawn to, such as rich velvets, heavy brocades, and delicate lace, proved useless as they fell apart. The suitable yellow fabric to use also proved impossible to find on the shelves and baskets of charity shops. After a few failed options, finding the right shade of yellow fabric that could be cut into ribbons without falling apart became an occupation of mine. On the surface, the seemingly abundant use of materials without the added value of morals turned out to be a valuable lesson in materiality. Most importantly, given that the materials are upcycled, they are inherently embedded with narratives—purposes and intentions. Whether leftover from a dress made by mum, a quilt by grandma, or simply a sewing project abandoned halfway, these materials add their history to the piece. The resulting artwork is the most decadent work I have created to date, a work whose every inch has received equal attention and effort.