The overall theme was centered around the untimely death of Amy Winehouse, society transformation and subversion of icons. I began selecting works for an exhibition shortly after Amy Winehouse's tragic demise. Gossip, grief and opinions about Amy were consuming the media, which is the usual construct of what typically happens when an icon collapses. The exhibition I was working on was as much about the fragile line between confidence and vulnerability as it was about the humanization of Amy Winehouse.

The works I selected dealt literally and metaphorically with human endeavour and pop culture. Various fibre works were selected that included telephones used to transfer information, suit collars representing corporate status, and a doll of Amy Winehouse herself, which presented the viewer with a malleable and poetic statement about modern life and cultural embodiment. My intent was not to ask the viewer where they were when Amy died and what her death meant to them, but rather to examine a more global idea of moments that pass and how technology facilitates the present expansion of pop culture and its associated icons.

Further, as the title, World of Threads Festival suggests that fibre is the crux of all exhibited works, what better foundation to build a platform that can explore the duality of the human condition: strength and weakness. Threads by its very nature bear both of these qualities. Although fibre may appear to be stable and indestructible, they hold in their fabric a fragility and the potential for weakness.