My Cantonese name—Pui meaning plentiful, and Ming meaning bright and brilliant—reflects my parents’ hope for a brilliant future. I have found that brilliance in the world of working with my hands.
My background is in architectural studies and conservation—disciplines rooted in structure, history, and the careful preservation of what matters. Perhaps that is why lace, embroidery, and knitting speak to me so deeply: each is a form of building; each carries a history worth tending.
I treat every stitch as a meditative dialogue; each interaction between hand and material is pure and powerful. Driven by passion rather than curriculum, I sought out masters and experts who had devoted their lives to these crafts. I trained in haute couture embroidery in Lyon, France under embroidery master Elisabeth Gasbarre; in bobbin lace in Dublin, Ireland under expert Ann Keller; and in Burano needle lace in Venice, Italy under the Lace Masters of Fondazione Andriana Marcello. What began as a therapeutic personal journey has evolved into an exploration of the narratives of memory, domesticity, and cultural identity.
Today, my work contributes to larger artistic dialogues. I am a contributor to the Cherry Blossom Project, touring the UK from 2026–2027, and Ireland’s Lace Meadow Project, soon to be part of the Limerick Museum’s permanent collection. I am also a member of the Guild of Irish Lacemakers and the Artists Network Dún Laoghaire–Rathdown.
My sails remain full on this textile art journey; I will let my passion, determination, and the winds of inspiration guide me until I reach my shore.
100% Hong Konger
Puiming | Textile Art 