My hands tremble a little — everything is moving quickly, and I am still learning how to hold all of this together in my mind. The exhibition, the performance, the research… they are arriving all at once. But when I look at the timeline calmly, there is a natural sequence.
The exhibition will run from 6 January to 6 February 2026, and the performance will take place between 22 and 31 January 2026 — right in the middle of the exhibition.
This means the performance can become a living extension of the exhibition, or even a doorway into it. Calling it Performance Threads of Time already carries meanings and consequences: if the performance speaks about cycles, rituals, and renewal, then the masks and costumes should also carry this logic — visual languages that help audiences understand the deeper layers of the work.
About the performance
Threads of Time is a contemplative street performance using red yarn to embody cycles of labour, renewal, and storytelling. Performers unravel and re-weave thread in repetitive, ritual gestures, pausing at symbolic moments that echo seasonal festivals and communal care. At the core of the performance, a small golden egg appears — a symbol of transformation and resilience. Staged along the riverfront, the work turns public space into a site of reflection and shared memory.
About the exhibition
Hidden in the Jungle is an exhibition-research project about unseen beings that live quietly in our imagination — our inner helpers, companions, guides. In many Asian myths, these beings take the form of animal spirits, protective ancestors, or guiding deities who accompany travelers through unknown worlds. They symbolise renewal, strength, and support, helping us navigate change and transformation.
This journey began during my Master’s studies, and now continues in my PhD research.
As part of the exhibition, I will host a workshop and a talk. The workshop invites participants to meet their own inner companions through making, movement, and storytelling. The talk opens a dialogue on how myth, folklore, and personal symbols help us face difficulties and transform them into strength.
Now, in this short period of time, I need to understand how the exhibition can function as background research, and the performance as a pilot project — two parts of one body of work.
I think the meanings will become clearer through doing. Thinking through making, thinking through movement.
And I am grateful that Dr. Tetriana suggested the work of Shaun McNiff, whose writing supports exactly this: understanding through the creative process itself.