Cloth, in its quiet ubiquity, wraps the contours of our being – delicate yet resistant, woven with histories both tender and enduring. It is the fabric of necessity, close to the skin, accompanying the rituals of daily life. Yet, in its folds, it carries the weight of privilege – unseen, yet palpable for those whose access to its soft embrace marks a life apart. It expands across continents, draping bodies in silken narratives, only to be reduced to the smallest of stitches when time and circumstance demand. It is both a shield against the world and an intimate gesture, held between those who wear it and those who weave it. In its weave, we find the stories of resilience, of what holds us together, and what leaves us exposed.
Ana Luisa Cubas reviews ‘Htein Lin: Escape’ at Ikon Gallery’ and discusses how Lin’s practice, rooted in Myanmar’s political turmoil – from prison-made paintings to cast hands of political prisoners – navigates political resistance and collective suffering.