Weaving Resistance. Feminist Stories in Metal by Yuanxing Lin

Long confined to the domestic sphere, they mended — and still mend — life as one would stitch a beloved garment.
For centuries, their fate hung by a single thread. The one Penelope wove and unwove each night to outwit time, or that of Ariadne, who guided Theseus from certain peril. Myths often speak of the thread, but rarely of those who hold it.

Those skilled with a needle were deemed marriageable.
Across cultures, one truth endures: the story of women is entwined with the craft of sewing. In China, this connection runs equally deep: embroidery, weaving, silkwork, paper cutting — all practices assigned to women, silent keepers of knowledge passed from mother to daughter. Silk workshops, domestic spaces devoted to thread, and repetitive gestures learned from childhood shaped not only domestic life but the very idea of long-celebrated feminine virtues: patience, precision, devotion. It was from these interiors that women emerged to challenge the roles prescribed by both Eastern and Western societies.


Faire et défaire, c’est toujours travailler (making and unmaking is always work), and often, work unacknowledged.


It is within this lineage of the hand that Yuanxing (Layla) Lin, a Chinese artist living in London, situates her practice. She weaves metal as others weave wool, evoking the interlaced stories of each individual, transforming gesture into thought and cracks into spaces of renewal.


Layla Yuanxing Lin. Vessel: Surfacing The Crack #4, 2025. Pure silver.


In her project Surfacing the Crack, Yuanxing engages with everyday objects — tableware, vessels, pearl necklaces — symbols entwined with the condition of women, to question the place of feminine labour and the authenticity of “dominant” beauty. By weaving metal, she exposes the internal structure of these familiar forms, shifting them into a new register: fractured yet paradoxically enduring. The forms evoke the spider’s web, a symbol of patience and tenacity, embodying the quiet persistence of feminist struggle: fractured, but steadfast, determined to emerge from silence.

This tension between what breaks and what endures permeates her work. The suppleness and interlacing she imposes on metal — historically associated with power and weight — articulate a poetics of resistance. The metal thread becomes a site of cultural friction: between precious and precarious, delicate and commanding, appearance and structure.

Yuanxing’s practice occupies a hybrid territory where crafts — textile, jewellery, and silversmithing — converge, a field rendered political by artists questioning power, identity, and representation. She carries this legacy forward into a contemporary, transnational context, negotiating the tensions between cultures, where women’s place in craft and creation remains fraught with ambiguity. As fibres retain the memory of gesture, Yuanxing’s woven metal bears the traces of struggle, shaping form from almost nothing.


Making Process & Experiment by Yuanxing (Layla) Lin.



Layla Yuanxing Lin. Loosen End Spoon, 2025. From Woven Cutlery Series. Recycled Silver.


In her series Woven Cutlery, softness is tested. Familiar fabrics are transposed onto everyday utensils. Silver wires and rods of varying gauges are woven and interlaced, transforming textile into metallic structure. Exaggerated scale and unexpected weight unsettle conventional notions of tenderness, reminding us that fragility often exists more in perception than in the material itself.

These pieces, poised between jewellery, functional object, and textile sculpture, embody a fertile ambiguity: a constant dialogue between fragility and strength, domesticity and power, inheritance and rupture. Thread and gesture are reinvested with clarity and determination, turning repetition and structure into tools as critical as they are aesthetic, inscribing her voice into the ongoing story of making.


Layla Yuanxing Lin. Drawstring Knife, 2025. From Woven Cutlery Series. Recycled Silver.



Yuanxing (Layla) Lin (b. 1997, Xiamen) is a London-based metal and jewellery artist whose work merges craft, material experimentation and feminist thought. Trained at Central Saint Martins, Birkbeck, and later the Royal College of Art, she develops innovative woven-wire metal techniques shaped by textile logics. Her practice spans cutlery, vessels, jewellery, and material studies, with recent exhibitions in London and Paris.

Instagram: https://www.instagram.com/laylalinlayla/




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