PhD Programme


Our PhD Students

Wong Suet Fong, Angelene
Tan Peng Chai Adrian             
The Fashioned Body in the Digital Age: Fashion, Kinesthetics and Feminine Subjectivity​

This dissertation explores the fashioning of the contemporary feminine body through the kinesthetics of conceptual fashion film. It begins from the archetype of the mid-20th century flâneuse symbolised by the Dior woman who embodied hyperfemininity and women’s increased autonomy in public space. The static image of her subjectivity in fashion photography and her highly stylised walk symbolised a measure of feminine success that is still referenced in the 21st century. I am interested in looking at contemporary attempts to transcend this feminine ideal through emergent ways of moving the fashioned body in fashion film, a contemporary genre that recently experienced an apotheosis during the Covid-19 pandemic when all fashion advertising took to online platforms. Fashion film challenges the stasis of the fashion image by liberating the body into movement. In particular, my interest lies in the onset of fashion films that have taken to using dance as an aesthetic and communicative medium, thus posturing the fashioned body in a different relationship to space and time as compared to the earlier Dior archetype, and expanding the fashioned body’s affective possibilities.


While fashion and dance have enjoyed an enduring relationship, the relationship seems to take on a different profile in the digital age. I suggest that dance functions to re-materialise and enliven the flattened digital experience of fashion and to access a form of expanded material truth. In this new posturing of the body, the biopolitics that emerge imply new understandings of intersubjectivity, feminine subjectivity, and the ability for the fashion medium to interpellate the digital flâneuse wandering through the online hypertext. Kinesthetic empathy is used as a lens to understand how the dancing body operates in the discourse of fashion, which is a phenomenon that governs the aesthetic experience of viewing movement. Through studying the empathic space between audience and screen, this dissertation endeavours towards a deeper understanding of how feminine subjectivities are fashioned through movement. However, the fashioned body also poses another challenge for our understanding of kinesthetic empathy as it presents the possibility for the commodification of such intersubjective connections and expansions of feminine subjectivity. This study thus grapples with these complications to nuance the utopian dimension of kinesthetic empathy.


The dissertation thus attends to this key question: How do kinesthetics fashion the body in the digital age? I identify the patterns, grammars and tensions that outline the fashioned body in the digital age. Moreover, I question the methodological boundaries in fashion studies by developing a kinesthetic approach to research, thereby maintaining the throughline of embodiment of the project. This aspect takes the form of a physical provocation of urban space in Singapore through dance, rendered through film. It acts as a kinesthetically empathic invitation to the online flâneuse to question how feminine bodies are fashioned.​

Keywords: fashion and dance, kinesthetic empathy, media and performance art, body politics, digitalisation

Research Area(s)

  • Fashion
  • Performance 
  • Digitalisation
  • Body politics

Dr. Ella Raidel 

Lacaste Eunice Paola Ramos

Screens and Exhibition Spaces in Contemporary Singapore

Screens are now more marbled in the viewer’s experience with art, especially at a time of a global lockdown. Not only are there more screen-based artworks being produced but art-making and distribution are also pivoting from an exclusively physical representation to digitally augmented displays. More exhibitions are simulated on virtual spaces with 360° view. More artwork labels and exhibition notes are projected on screens, underscored with hyperlinks and response codes. The screen dialled from being a supplementary option to the new normal.

The reconfiguration of representations through screens also shift the exhibition spaces. Screens are becoming more inescapable and indispensable as a tool for exhibiting art. Today, screens can provide all-seeing access to artworks, access that is not limited by space or time, access that is made more pronounced during a pandemic. A physical exhibition space allows ambulatory activities where the audience enters and exit to view art. Screens, however, have become a social space that interactively display art through storage and retrieval of data. Screens have mostly static viewers but dynamic viewership. These actions are not exclusive to one mode of display. However, they highlight a tilting contrast in forms, operations, functionalities, and artistic roles. This paper takes a closer look at this turn to screens as exhibition spaces.

With such modifications, how do we define and account for the changing modes of exhibiting art through screens? Are screens becoming the major channel through which the world is offered as a visual experience? Can presentation and representation of art be exclusively channelled through screen devices? Today, reproducible worldly phenomena are accessed and experienced with the use of a visual apparatus. In circumstances when physical exhibitions have restricted viewership (a maximum of five individuals in a room during pandemic restrictions) and its virtual counterpart hits a thousand views, it is screens that provide the artworks with its viewership. Society’s current position amidst the pandemic magnified the already ubiquitous screens. If so, what do screens mean in art practice today? How do art production and distribution shift during the age of the screen? How are screens normalised in exhibition-making and what are its implications on exhibition practices?

This research will shed light on how exhibition practices switch its modes of production, distribution, and circulation with the enforcement of screens during the current pandemic conditions. Aforementioned questions will be asked in the context of museums as art institutions. There will be interviews with different art practitioners who can provide perspectives from different artistic disciplines on how art exhibition is recalibrated in the age of the screen.​

Research Area(s)

Asst Prof Marc Gloede

Li Su
Tan Peng Chai Adrian             
Imagined Audience and Its Implications on Digital Curatorial Practices

The discipline of curatorial practices has experienced a cultural change that lasted for decades. The traditional practice of art curating is being redefined, often to more collaborative modes of production and presentation in new media art’s characteristics: from the mode of the museum, through correspondences with publishing, broadcasting, labs, to more recent hybrid ways of working both online and offline, including interdisciplinary collaboration and social networking. Art curatorial practices is the process of selecting and organizing art collections, more specifically, the process of curating artworks. In this process, the audience plays a significant role. The view of the audience is the prospect of the marketplace. However, the artist, the curator and the institution do not have a clear image of their audience in digital communication.

The digital curatorial practices persist the ambiguities, the image of the audience in digital art curatorial practices is vague and unsustainable. Research based on the audience study in digital is an increasingly important part of the academic landscape. The study of audiencemaking in digital art curation can demonstrate how the audience produces new transferable strength in digital art curating communication. So far, there has been no concrete effort to look at the process of audiencemaking in digital art online exhibitions. Moreover, there is a lack of literature dealing with the idea of audience study in digital art curatorial practice as research.

This research aims to help curator in digital art curation to access the imagined audience better to navigate through mediated publics and benefit the artist and institution in digital curatorial practices. Apply audiencemaking in digital curatorial to enhance the relationship between the curator, the audience and the society in digital curatorial practices will further contribute a more comprehensive analysis in both professional and academic discourse.

Research Area(s)

  • Audiencemaking
  • Imagined Audience
  • Museum Studies
  • Curatorial Practices
  • Digital Art Curatorial Practices
  • Transformation of Audience

Assoc Prof Chul Heo

Huang Xinyuan
Tan Peng Chai Adrian             
The changing representation of traditional cultures in animations adapted from traditional folklores and legend stories across the Chinese animation history

The traditional Chinese cultures, such as the traditional art, legend stories and folklores have been continuously adapted to animations throughout the Chinese animation history. There was an unique animated aesthetic, the national style presented in the internationally famous Chinese animations produced in the 1950s and the 1980s, most of which are the highly faithful animated adaptations of Chinese classical literature. The national style is the cross-cultural art style which mixes the traditional Chinese aesthetic and Western cinematic and brings subtle emotions on a metaphysical level. However, the ever-changing social and political environment is always the deciding factor for the ups and downs in Chinese animation history and the unique animated style has been changed into CG animated style. The traditional cultures are gradually changing the original meanings in both artistic and story aspects. The research will focus on analyzing the changing representation of traditional cultures in Chinese animated adaptations across the Chinese animation history from aesthetic, story-adaptation and social political aspects. The research will study how and why the changes happened, what constitutes the value of preserving the intangible cultural heritage through animation, and whether there is a way to reconcile the respect for tradition and the prospect of commercial success?

Research Area(s)

  • ​​Chinese Animation History
  • Animated Aesthetics
  • Adaptation Studies
  • Representation of Traditional Cultures
  • Cross-cultural Art

Prof. Hans-Martin Rall

Su Hing Leng Ryan
Su Hing Leng Ryan             
The Potentiality of an Art-Related Dispute Resolution Framework for Singapore

Is the creation of a dispute resolution framework to handle international art-related disputes in Singapore practical? If so, what should the framework look like and what kinds of disputes should it handle? The dramatic growth in trade and investment has led to an increased demand for dispute resolution services in Asia. Singapore has been lauded for its convenient location, good legal system and neutrality. While disputes are resolved in courts or through Alternative Dispute Resolution (ADR) mechanisms, the thesis investigates the potential of creating a specialised dispute resolution framework to handle international art-related disputes in Singapore as specialised knowledge may be required to better serve the interests of parties in an art-related dispute. A dispute resolution framework for art-related disputes would combine Singapore’s separate foci as an arts and an ADR hub – both of which now encompass global ambitions. Creating and formulating structures and frameworks is nothing new to the “Potemkin metropolis” that is Singapore, a country where every occurrence was based on “pure intention” rather than by chance. An examination of the potentiality of a framework for the resolution of art-related disputes would inevitably require close study of art-related disputes and the relationship between art and law. As with the development of the law, these disputes can be classified and understood chronologically. Inevitably, such a chronology would end in the contemporary. The thesis would hypothesize the trajectory and nature of future disputes that could be handled by such a framework, seeking input from artists, curators, institutions, dealers, collectors and others in the Singapore and international arts ecology.

Research Area(s) 

  • Art Law
  • Cultural Property Law
  • Media Law
  • Intellectual Property Law
  • Litigation and Art-Related Disputes
  • Alternative Dispute Resolution (ADR)
  • Contemporary Art
  • ​Southeast Asian Art
  • Museum Studies & Curatorial Practices
  • Art Market & Art Business


Professor Ute Meta Bauer

Professor David Tan


Tan Peng Chai Adrian​
Tan Peng Chai Adrian             
Re-mapping the artists village in the city: Creating space(s) for artistic interventions in Singapore

The Artists Village (TAV) is re-read through a new methodological focus, where the artistic strategies of the artists collective are examined and relooked in new contexts. Through the research, a critical discourse opens up and encourages new narratives on Singapore art history through a study of collectivism and collaborative art.

Research Area(s)

·       Singapore and Southeast Asian contemporary art

·       Art Collectives in Southeast Asia

·       Participatory and collaborative art

Public Art and site-specific art
Prof Michael Walsh​

Sathikh Peer Mohideen
Sathikh Peer Mohideen.jpg
Cogito : Intelligo : Efficio

Evolution of a Method for Valuable Innovation through the Study of the Relationship between Creativity and Innovation​

Cōgitō, which means ‘I think’ in Latin, is the initial stage of the creative process and has to do with ideas evolving freely.

Intelligō, which means ‘I realise’, is the second stage, referring to the process of selecting and developing ideas which have potential.

Efficiō, which means ‘I accomplish’, is the final stage where the developed ideas are executed to achieve innovation of value.

These three individual states combine to form the relationship between creativity and innovation and lead to what I term ‘valuable innovation’.

This thesis seeks to identify a definable process from idea to innovation, via creativity. This has been approached by analysing the relationship between creativity and innovation in both the arts and sciences, and by investigating the interwoven complexities of difference and complementarity from the mid twentieth century to the present day. A partial autoethnographic approach has also been utilised to draw on the author’s long experience as an industrial designer to realise a synoptic map as a method for understanding valuable innovation and the myriad routes to it. This research was driven, in particular, by the author’s key questions: “Why and how did I become an innovator from a creative person? What is the difference? What has led to this change? What then is creativity and innovation?” These personal questions were then contextualised within an academic analysis of the journey from ‘creative’ to ‘innovation’, and culminated in the creation of a synoptic map depicting the routes to meaningful innovation for individuals, businesses, communities and / or societies. This synoptic map is tested and validated through five distinct case studies in the area of applied art, in particular industrial design, and exemplified by a showcase from an established creative artist / designer / innovator from Singapore. 

Research Area(s) 

  • Design studies

Assoc Prof Andrea Nanetti
Email ​​

Vincent De Paul Jegan
​Art on the Geopolitical

Contemporary geopolitical events are researched, analyzed and interpreted by multiple disciplines. They are studied in geography, economics, cultural theory, and certainly by international relations. But what about the role of art? Can art play a role in creating new understandings of today's geopolitical events? If so, how? My research as a PhD student at ADM and the NTU Centre for Contemporary Art seeks to answer this question by considering the history of art and politics, a contemporary geopolitical event, and transdisciplinary research methods. Art on the geopolitical is the topic of my dissertation. I will develop both a theory and an artwork to argue and demonstrate how contemporary geopolitical events can be represented aesthetically. What does such a representation look like and what can it actually express and even beyond that, address? As a specific example of a geopolitical event, I will examine the relations of the People’s Republic Of China with countries on the Indian Ocean littoral from the Persian Gulf to the South China Sea. My examination will focus on the Chinese state’s construction of shipping infrastructure between and within these countries. I will focus on Hambantota Port in Sri Lanka as a case study.

Research Area(s)
  • Text, Video, Film
  • 20th-Century History of Art and Politics
  • South Asia/South East Asia Regional studies
  • Maritime studies
  • ethnic conflicts
  • Post-conflict politics
Supervisor Professor Ute Meta Bauer
Professor Stefano Harney
Email ​​

Iola Lenzi
​Vu Dan Tan and early contemporary art in Hanoi

The work of Hanoi artist Vu Dan Tan (1946-2009), though part of global contemporary art from the mid-1990s, has yet to be thoroughly researched. This project will examine Vu Dan Tan’s art exhaustively, framing its pioneering rupture of form and purpose in Vietnam’s historical and political context. It will argue that Vu Dan Tan is an early exponent of contemporary practice in Vietnam by showing the influence of his work on the Hanoi scene of the 1990s, as well as determining shared artistic terrain with other first generation contemporary artists of Southeast Asia.

Research Area(s)
  • Southeast Asian contemporary art
  • Borrowings from tradition in languages of Southeast Asian contemporary art
  • Early Vietnamese political art
  • Southeast Asian art with polical and social voice or Southeast Asian art’s articulation of critiques of power
  • Participative and performative practices in Southeast Asian art
  • Public and private space in Southeast Asian art
  • Conceptual approaches of Southeast Asian art​
  • Sexuality and woman in Southeast Asian art​
  • Memory and history in Southeast Asian contemporary art​
  • Southeast Asian art’s aesthetic and its sources​
  • The high art/low art dichotomy in Southeast Asian contemporary art​
  • European-established art schools in early 20th century Southeast Asia and their influence on contemporary art​
Asst Prof Sujatha Meegama
Prof Nora Taylor
Email ​​

Muhammad Ridzal Bin Abdul Hamid
​The Milonga: A Space of Tango and Social Dance Practice

How do space and site figure in social dance? This research considers the milonga, a social space of tango, as an example of a social dance space, alongside issues connected to site-specificity, in hopes of articulating the layering of space and site in social dance as a form of contemporary art practice. Questions about viewership and the immateriality of the art of object/event, among others, are also raised in the process.

Research Area(s)
  • Performance and contemporary art
  • Corporeality, bodies in space, embodied experiences
  • Time-based and ephemeral art
Supervisor Asst Prof Marc Gloede
Email ​​

Liu Danyun
​​Maps as Knowledge Aggregators-Maritime Silk Road as a Case Study

Maps work as knowledge aggregators. My research will start from maps and using data visualization as an interactive media to allow users to manipulate the graphical variables themselves in real time to gain hidden insight and solve real-world problems, which may lead to beneficial and profitable innovation. Through data visualization, encapsulating map’s data in graphs forces us to confront its limitation and helps us to understand the dynamics of the underlying phenomena of the Maritime Silk Road. Through rich computational and aesthetical data and applying the visualization method into the drawing of modern maps that take place in space and time, we can have a better understanding of our spatial world. This facilitates to generate our routine, personal activity, social network, even our human inner maps by connections in real-time through geospatial data and mapping capability. Meanwhile, by deeply analysing and representing historical knowledge and hidden stories, the research also aims to explore the new methodology and new mode of digital applications of cultural heritage.

Research Area(s)
  • Interactive Design
  • Web-Based User Interface
  • Digital applications of Maritime Silk Road
  • Historical Map Data
  • Visualization/Information Visualization
Supervisor ​Assoc Prof Andrea Nanetti
Assoc Prof Cheong Siew Ann
Email ​

Kathleen Elizabeth Ditzig Li Ying
The Exhibitionary Complex of a New Nation: Exhibitions of Political Sovereignty, National Development and Cultural Exchange in Southeast Asia during the Cold War (1950s-1980)

This research seeks to outline an exhibitionary complex of the new nation state in Southeast Asia that arises out of Cold War cultural exchange with the US between the 1950s and 1980 in Singapore and the Philippines. The research will study tendencies toward defining and promoting internationalism and how this informed the evolution of exhibitions and art production in Southeast Asia (e.g. in the trope of the survey exhibition of Southeast Asia or in the inscribing of qualities to specific types of art.)

Research interests areas
  • Southeast Asia and the Cold War
  • Cultural Diplomacy
  • The rise of neoliberalism
  • Exhibition histories
  • National art histories
  • Politics of Display
  • Cultural infrastructure and policy
Prof Ute Meta Bauer
Prof Patrick Flores

Marina Zuccarelli
"Photography as a tool of self expression and an agent of transformation: a participatory photography art project at a cancer centre."

This research put in relation the potential of photography as a medium able to support personal development with participatory art practice, introduced in the healthcare setting. The aim of the study is to explore how art photography practice, can have a beneficial effect and help encourage self-expression on people afflicted by cancer.

Research Area(s)
  • Photography Theory
  • Therapeutic use of photography
  • Art in Healthcare
  • Participatory Art
Asst Prof Elke Reinhuber
Asst Prof Michael Tan
Email ​

Andrew Ng
The Photograph as a Site for Radical Performance: Evaluating the Potential Efficacy of Performance Imagery as an Event of Cultural Intervention

This research seeks to further investigate the discourse at the intersection between performance and photography, specifically by looking at the potential of photography – not just as an artefact, but also a medium and an archive – as a site for radical performance. The research will study the potential efficacy of performance photographs as events of cultural intervention by evaluating their methods of disruption to modes of artistic presentation and viewer engagement.

Research Area(s)
  • Photography History, Theory, and Criticism
  • Performance Studies
  • Radical Performance
  • Intermediality
Assoc Prof Oh Soon-Hwa
Asst Prof Michelle Lim

Lee Soo Jin
‘I’ in Narrative: Negotiating Self towards Others, Study on Autobiographical Contemporary Visual Arts

This research generally aims at illuminating meanings of autobiography in our time and it will be conducted through exemplifying various artworks in the field of contemporary visual arts. Autobiography can be defined as “an account of a person’s life written by that person” (Oxford Dictionary). Despite initial self-referential appearances, autobiography in fact engages the self with the external world; autobiography is a realm between the self and the world. The most common form of autobiography is a book, which is based on textual medium. What I want to focus on is, however, expansion of the field of autobiographies to the visual arts. Among various disciplines, contemporary artworks using photography as medium of self-expression will be mainly examined.

Research Area(s)
  • Visual culture
  • Autobiography, Narrative identity
  • Contemporary art, Visual arts, Conceptual art, Photography
Asst Prof Marc Gloede
Assoc Prof Oh Soon-Hwa

Tang Tze Yin Junie
Graphic Designer as Curator: From a Problem-solver to a Problematiser, and its implications for Design Education in Singapore

This research aims to first expand the role of a graphic designer as a curator, who is also a problematiser, then identify the gaps in local design education, and develop an original design methodology that can facilitate the process of them playing that role.

Research Area(s)
  • Curatorial Practice
  • Design Education
  • Design Methodology
  • Graphic Design
  • Problem Solver Versus Problematiser
Assoc Prof Danne Ojeda Hernandez
Assoc Prof Jasmine Sim Boon Yee

Lydia Wong-Plain
​Reworking the Museum Experience: Designing pedagogical spaces through the intersection of historical  collections, museum environments and cultural policy in Singapore

The Museum space represents more than just simply collections and information, it also embodies multiplicities and complexities, presenting difficult debates on the display of politics, issues on inclusivity (or more often than not, exclusivity) and crucial topics on current states. Likewise in Singapore, these performative spaces have adopted the same model from established western counterparts and replicated the transfer of the western mode of approach in local museums. However, the duplication of such modes of display would not be deemed effective in Singapore when addressing our variegated landscapes with diverse or diasporic communities. Besides the contention with inclusivity, other decisive factors such as the intricacies of evolving curatorial narratives across time, geography, space and region in tandem with audiences’ expectations and participation have not been explored extensively within the museum. Such problematic lacunas compose this delicate balance of investigating intersections between historical collections, museum environments and cultural policy. This research therefore employs the above tripartite in contemplation of designing effective bespoke pedagogical spaces within historically-charged architecture such as the museum. In a time of blurred boundaries and in a world marked by shared unsettling colonial histories, it is fundamental and of utmost urgency to encourage plurality and heterogeneity in the process of recalibrating often unquestioned but carelessly established conventions.​

Research Area(s) 
  • Museum Studies
  • Museum Education
  • Curatorial Practices
  • Spatial Design
  • Public Art
  • Cultural Policy​
  • Art History
  • Heritage Studies​

Asst Prof Marc Glöde
Prof Michael Walsh

Swayamsiddha Panigrahi
A study of the transformation of traditional visual narratives into Animation 

Several traditional art forms have transformed into the visual language of many contemporary animation films. However, with this migration of the traditional art form from a static to a dynamic medium, there comes a shift in its intrinsic order and identity. This study focuses on the transformations in visual and overall aesthetics as they get animated and observes what informs that transformation in terms of motion, visuals, and storytelling. The focus would be on tapping the change in the visual syntactic when the intrinsically static art form is animated. There are two parts to this study. The first part is focussed on the visual transformation examples from India, and the second part constitutes examples from Southeast Asia. A cross-cultural comparative analysis approach is being taken to map the similarities and differences in visual transformations in India and neighboring cultures.

Research Area(s) 
  • Traditional art inspired Animation

  • Art in Transition

  • Trans-Culturation & Liminality

  • Visual Identity 

  • Storytelling 

  • Oral history collection


Mazhar Kamran, IIT Bombay

Prof. Hans-Martin Rall, NTU Singapore

Sum Wai Yuan
Aggregating scholarship in the digital era: An interdisciplinary investigation on the academic studies relevant to the understanding of the painting known as the Ship of Fools by Jheronimus Bosch as a show history

From Vasari, Ripa and da Vinci (as observed through his notebooks) in the 16th century to the likes of Warburg, Müntz, Panofsky, Gombrich and Mitchell in the 19-20th century, the ideas of iconography and in particular the relationship between text and image in iconology has been has been argued, discussed and demonstrated across the centuries in many different ways. The question of (or questions related to) what is an image was also explored and led to a variety of different things, such as “pictures, statues, optical illusions, maps, diagrams, dreams, hallucinations, spectacles, projections, patterns, memories, and even ideas”. The development of computing brought in the rise of digital technology making digitalisation of different artefacts and information processing possible, with new digital formats, digital formats, interpretations and facsimiles of images, which further intensifying the question of “what is an image”. Today, the multiplicity of images also suggest the multiplication in access, searching, discovery, learning, research, publication, dissemination of knowledge with new “ideas of imagery” in the forms of interface, “infosphere”, and “intraface” created. Using the painting, Ship of Fools, by Jheronimus Bosch (c. 1450 – 1516) as the key object of study, my PhD research will centre around two key questions relating to aggregating of scholarship of a painting as an image, and ways of seeing, sensing and understanding paintings: (1) How scholarship of a painting as an image is aggregated then and now in the digital era? (2) How a painting can be understood and what the understanding of a painting means then and now in the digital era? With nothing in his own words, and little was known about him, scholarship about Bosch’s personality were mainly done through his survived works (or works attributed to him). His paintings were also often compared, juxtaposed and quoted among his own paintings, and to others from Bruegel in the 16th century to 17th century Japanese gothic paintings, 20th century Salvador Dali, other genres of art in music, dance and film, and cross disciplinary into the humanities. I will adopt an interdisciplinary approach in my research from the fields of art history, information science, computer science and psychology (of art and aesthetics), which will include topics on iconological analysis, ontology and metadata framework, digital models and interfaces for aggregating scholarship, and visual perception and digital aesthetic experiences of digital scholarship aggregation.

Research Area(s)
  • Visual Analysis of Paintings: Iconology and Iconography

  • Knowledge Aggregation

  • Knowledge Interfaces

  • Digital Aesthetics

  • Multiplicity of Image

  • Jheronimus Bosch


Associate Professor Andrea Nanetti


Yin Chun Zhi​
Heritage Illuminates The Future: The Nantong indigo textile as a show history of Intangible Cultural Heritage and sustainability in China

This Ph.D. research investigates on the Nantong indigo textile included in China Intangible Culture Heritage and purposes of new sustainable and social fabric. From the perspective of culture, wellbeing, and sustainability, seeking the balance between nature and humanity. The reason why intangible culture heritage is immaterial lies on its spiritual and cultural value, and now they are facing extinction. Many studies have shown that our current textile industry is one of the most polluting industries worldwide and we are badly in need of damage control. Textile techniques documented in China. 

Intangible Culture Heritage are rich in meanings and eco-friendly. One textile could be a representation of history, culture, art, and religion of the region when it was made. In compare to the past and present, the identity of textile has formed a sharp contrast.

Research Area(s) 
  • Art History

  • Cultural Studies

  • China Intangible Cultural Heritage

  • Textile Design

  • Bio Materials


Professor Galina Mihaleva