In an exclusive interview with L&rsquo;Officiel Singapore, founder Crystal Lee shares how Project Coal is an embodiment of manifestations in life, as well as her appreciation for nature as a slow artist.

The rise in the adoption of ethical and sustainable practices breathes new life into early traditions. Borne out of the ingenuity of ancient artists who honed the natural dyeing techniques back in the day, Crystal Lee embarks on environmentally-friendly explorations and experiments with several mediums of dye and textile to create one-of-a-kind pieces &mdash; each with a story to tell. Established in 2014, <a href="https://www.instagram.com/projectcoal/?hl=en">Project Coal</a> provides bespoke natural dyeing services for clothing, textiles, objects, and art. Some botanical dyes employed by the label include foraged materials like dried mangosteen rinds, onion peels, henna leaves, and more. The artist also creates handwoven textiles with the utilisation of natural fibres and natural dyes, echoing the symbolic importance of the cultural ethos in weaving traditions.&nbsp;

With her wide collection of archives, Lee has exhibited dye installations at Singapore Art Week and collaborated with several local brands such as ethical jewellery line PYAR and private dining restaurant Alter Native. As an emerging slow artist, we speak to the natural dyer and weaver as she opens up about her personal philosophy and appreciation for nature.

What sparked your passion for Project Coal?&nbsp;

I was in London in 2013 and had the chance to experience the English countryside. Whilst there, I was gifted a natural dyeing book and that was when I learned about foraging the woods for raw materials mentioned in the book. I later attended a natural dyeing workshop at a community garden where they conduct various workshops teaching about sustainability and the environment. The ladies I met there were open to sharing their knowledge with me and they were using flowers found in the garden for the workshop. Through that workshop, it sparked an interest and a curious mind to further explore the craft.&nbsp;

Generations of craftsmen have dedicated their lives to developing traditional dyeing and weaving techniques. Who or what would you say is your biggest inspiration?

It&rsquo;s hard to pick one! A few of my favourite textile and fine artists include Mark Rothko, Gerhard Richter, Robert Mapplethorpe, Louise Bourgeois, and Lenore Tawney. They all have inspired me in their own ways. An artist that has inspired me recently is Ana Mendieta. She was a multidisciplinary Cuban-American artist and most of her works deal with feminism, belonging, and identity while using her body and the natural world as her medium. Her &lsquo;Silueta&rsquo; series really spoke and evoked quite an emotion in me. What I translated from that body of work was an inevitable connection we have with ourselves, our identity, our culture, our land, and the cosmos. The use of natural elements such as earth, water, and fire, to represent the duality of life itself is beautiful.&nbsp;

&ldquo;My art is the way I re-establish the bonds that unite me to the universe. It is a return to the maternal source. Through my earth/body sculptures, I become one with the earth.&rdquo; &ndash; Ana Mendieta

After exploring several techniques and mediums, what are your top 3 favourite materials to work with?&nbsp;

Silk and canvas for dyeing, and hand-spun hemp for weaving. Natural materials take in the dye differently from each other. For example, silk (a protein fibre) has different characteristics from canvas (commonly derived from cotton) when they are dyed with the same extract. Silk being more sensitive may take in the dye quicker but with lighter shades, whereas canvas, being a hardier material with a tighter woven structure, may need more time and they can produce more intense shades. As for using hemp yarn when weaving, it produces an organic finish with an uneven texture. I am drawn to the visible imperfections when the woven piece is finished&hellip; or not.&nbsp;

What is the philosophy behind these traditional dyeing and weaving techniques that you&rsquo;ve embraced in your craft?&nbsp;

One of the most important takeaways from the craft is to let the medium guide me, going with the flow and being patient. It may take a few days to a few weeks before I deem a dyed piece or weave to be finished, and it can be a very therapeutic and even meditative process when I&rsquo;m in the zone. It&rsquo;s the same way I experience life too, having no expectations and letting the universe guide me. Embrace the journey!

How does the use of natural dye empower, encapsulate, or preserve your beliefs as a slow artist?&nbsp;

The process itself takes time, and with that, it means to me, to be present and intentional when I&rsquo;m creating. I also love that the colourants and materials I use come from the living world, and it has given me a greater appreciation for Mother Nature.&nbsp;

Your craft adopts a distinct colour palette. What informs your visual perception of these accents?

I tend to lean to more sombre and earthy tones, depending on my mood. Once in a while, I might do something off tangent. I find inspiration from the textures and colours of everyday life and decay.

What is your take on cultivating ethical and sustainable practices?&nbsp;

Be mindful of what you use and how much you use. Don&rsquo;t take more than you need, and remember to give back. Most importantly, being appreciative of what we have around us.

Meet the Artist Behind Project Coal

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