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Where We Loop
Where We Loop traces back to childhood summers in my grandfather’s garden,
where moss and fragments of green became quiet markers of care, memory,
and slow growth. These textures shaped my earliest understanding of nature
as a silent archive of emotion—an intimate connection that continues to
influence how I perceive material and form.
where moss and fragments of green became quiet markers of care, memory,
and slow growth. These textures shaped my earliest understanding of nature
as a silent archive of emotion—an intimate connection that continues to
influence how I perceive material and form.
Inspiration
My grandfather’s vegetable garden holds the traces of my childhood—
moss-covered corners, quiet textures, and fleeting moments that continue to shape my work.
moss-covered corners, quiet textures, and fleeting moments that continue to shape my work.
© Image from internet.
Material Research
To merge knitted structures with living plant systems, I produced a range of knitted substrates and observed how various seeds responded to them. Each experiment—adjusting density, moisture levels, and fiber surfaces—revealed how sensitive and unpredictable biological growth can be. After a long series of failed attempts, I finally discovered a textile condition that allowed both the plants and the concept to thrive.
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PROCESS DEVELOPMENT
I documented my creative process through video, and as the greenery gradually grew, it helped me reconnect with many long-forgotten memories from the past.
Working with living materials changed the way I think about design. Nothing behaved exactly as I expected; growth had its own rhythm, and failure arrived without warning.
But in that uncertainty, I learned to listen—to the material, to the process, and to myself. Each trial reflected a different kind of patience, and each restart taught me how transformation rarely follows a straight line.
This project became a dialogue between myself and nature, revealing how memory, care, and time weave themselves quietly into what we choose to create.
To determine the plant shapes I wished to showcase and the materials to be used, I conducted material tests with fabrics of varying densities and textures. Chia seeds and wool were confirmed as the primary materials.
I repeatedly refined the containers, humidity, cultivation methods, and seed types—eventually choosing dense chia seeds. The process involved constant failure and restarting, revealing how working with living materials demands patience and humility. Nature’s unpredictability formed a delicate dialogue, becoming an expression of care. We may try to control outcomes, yet emotions, nature, and memory unfold on their own terms.
PROCESS DEVELOPMENT
Working with living materials changed the way I think about design. Nothing behaved exactly as I expected; growth had its own rhythm, and failure arrived without warning.
But in that uncertainty, I learned to listen—to the material, to the process, and to myself. Each trial reflected a different kind of patience, and each restart taught me how transformation rarely follows a straight line.
This project became a dialogue between myself and nature, revealing how memory, care, and time weave themselves quietly into what we choose to create.
© 2026 Fiona Du. All rights reserved.
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