In Chinoiseries, I have been addressing craft and its methodologies as well as problematicity. I had worked with cloisonné techniques in one of the last surviving enamel workshops in Beijing. The work addresses and confronts the contradictions in a country set to become an economical power other than cultural. China the fast-paced, the alienated, the progress-centered. In what way, if any, does the rhythm of craft meet with the fast beating heart of contemporary China? A country that has historically represented a magmatic reservoir of the finest expressions in both art and craftsmanship, but where these very forms of cultural expression might soon dissolve in the name of technological and economical power and progress. In this particular project, I focused on issues of locality and exoticism in relation to material culture and how the value of both craft and luxury has shifted and changed together with our notion of time and space in the globalized culture of today. I’m interested in the concept of distance, especially in its relationship to postcolonial theories, in how craft production has been used to shape certain ideas of nation and to construct hierarchical systems of value. How the idea and definition of craft has become elastic, defying geographical borders as well as ‘nationalisms’, questioning and confronting the accepted notions of skill and time has always interested me.