As the visual presentation of my thesis research project, Feminine Crafts and Contemporary Art in China,  "The Complete Open House" comments on the spatial and spiritual confinement of Chinese women in imperial times due to their work on textile. Weaving, knitting, sewing, embroidery and other forms of manipulation of textile were grouped under the term Nügong (literally, work of women), and were an essential criterion to evaluate a woman's virtue. 

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As opposed to male labor in public space, female labor is enclosed in private chambers, which also constitute a closed space for weaving relational networks among women themselves. The sole material of this installation, yarn, constructs a house without walls. The soft boundaries, however, are much more confining than hard walls. They represent a millenium of spiritual imprisonment of one gender, trapped in a net of fibers.