Linda Sok

Saw below recently in Something Earned, Something Left Behind at the Center for Craft in Asheville. Sok’s piece speaks to the traditional Cambodian craft of Pidan silk weaving as an act of resilience. Pidan were highly regarded in particular by French colonial archivists, and as a result there have been ample attempts at documentation, collection, and restitution of the cultural practice through its collection into museums or in the reconstruction of textile pieces funded by organizations outside Cambodia. As a result, these objects have become decontextualized and are visible only to people in museum spaces.
By placing contemporary imagery of the artist’s family onto a culturally sacred object, Sok offers a nuanced way of approaching the traditional weaving practice as an act of healing from familial and cultural trauma.

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Ilma Savar

Artsy says Ilma is one of 10 women artists shattering expectations feminist art. She lives in the remote Anahobehi village (Gora) in Ömie territory, a five-day trek up the volcanic slopes of Mount Lamington, Papua New Guinea. It was there that London-based gallerist Rebecca Hossack first met the Indigenous artist and encountered her textile paintings on nioge—or fine-grained, beaten cloth made from the inner bark of mulberry or fig trees—that Savari stitches additional details on top of with a superfine bat wing bone.

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