With each delicate stitch, Han Cao breathes new life into forgotten images. Embroidering over old photographs and postcards, typically sourced from thrift shops or estate sales, Cao’s works retain a sense of nostalgia while simultaneously cultivating new beauty.

Because Cao embroiders over second-hand photographs, her work embodies a sense of tradition. By interacting with and building upon the art of previous generations rather than beginning anew, Cao allows past objects to evolve, rather than simply being left by the wayside and replaced. Her embroidery becomes a cross-generational project, the creation of potential images partially dictated by chance – the odds of her finding any given photograph relatively minor – in addition to Cao’s indisputable creativity.

Cao’s intricate designs are no small feat, either. Paper is notoriously difficult to embroider on – it tears easily, making intricate designs and small stitches particularly challenging. Though the thickness of postcards provides more structure for some of Cao’s projects, they are still difficult to embroider on, requiring great amounts of skill. Nevertheless, Cao constantly creates stunning, elaborate designs that feature clean lines and brilliant patterns.

Swirls in the sky are a common motif, providing playful visualization of wisps of wind or clouds reminiscent of Van Gogh’s “Starry Night”. The intricate curves necessitate clean lines, as rips in the paper would be glaringly obvious, disrupting the lines’ graceful flow. Yet the stitches are expertly sewn, imbuing the skies with a beautiful wonder. Because many of the original photographs are of everyday scenes, the swirls seem to romanticize the mundane — unremarkable photographs of trees or grazing cows become unlikely sites for fantasy.

Although Cao’s embroidery prompts viewers to reexamine the beauty of the ordinary, it also encourages viewers to see the world in new ways. In “Between the trees”, a postcard of a lakefront is transformed, with two trees forming the borders of the embroidery, as though they were the edges of a portal. While the original image depicts beautiful natural scenery, several mountains emerging from the edges of the lake, Cao’s embroidery completely transforms part of the image. Vibrant blues, yellows, and pinks dance through the sky, and each section of the mountains is recolored. The lake reflects wisps of the beautiful hues above, and the two individuals from the original postcard appear to marvel at the fantastical world before them. Through Cao’s embroidery, the awe that one might feel in appreciation of nature’s beauty is transcribed, allowing all who view the work to partake in what is normally an individual experience.

Cao also frequently embroiders over clothing, allowing for elaborate designs that would have likely been cost-prohibitive in real life. Plain sleeves spring to life, flowers all but bursting from the seams, while simple dresses are made regal via intricate designs and added floral robes. One of Cao’s most stunning transformations, “May queen” clothes a woman in an elaborate gown of wildflowers, her hat repurposed as the base for a crown. Though the outfit is far too impractical to create in real life, Cao’s delicate stitches provide the perfect outlet for the intricate designs.

In many works, Cao also covers portions of the image with cross stitches. Traditionally associated with homemakers and domestic crafts, cross-stitching highlights the older nature of the found photographs. At the same time, cross stitches resemble the modern phenomenon of pixelation, making them a particularly fitting way to highlight the bridge between old and new in Cao’s work.

To view more of Cao’s embroidery, you can visit her Instagram or her website.