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Writer's pictureKexin Han
May 74 min read

The Love That Remains: Threads of Memories and Reflections

A Part of Her Stays in Me


I have always considered Toronto a unique city compared to other metropolitans in North America. In this city, each neighborhood is like a vibrant showcase of how different cultures live together. People who come here, whether they stay for a few years or make it their home, bring their traditions and blend them into Toronto's diverse cultural landscape.


While it almost feels like an adventure every time someone visits a section of Toronto, once in a while, I hear this question from the back of my head:

"What about the life, connections, and stories left behind in the home countries?"

When I walked into the exhibition The Love That Remains, curated by my friend Samantha Lance and hosted at the University of Toronto Art Museum, I was really fascinated by how the artists express sentiments and generational histories through contemporary textile practices.


Fig.1 The curatorial statement of The Love That Remains, written by Samantha Lance. Photo courtesy of Kexin Han.


One of the installations, Channel (2023), was created by Carol Ann Apilado, who taught herself to use the floor loom to create handwoven fabrics after discovering her ancestral connection to the Ilokano weavers from Bangar in the Philippines. Unlike most installation art that often has a sign that says “Don’t touch the artwork” beside it, this installation invites the visitors to sit on the pillow to feel the protective environment created by the blankets and stones. It is believed that the blankets would protect travelers through their journey across the sea.


Fig.2 The arrangement of Channel (2023) by Carol Ann Apilado. Courtesy of the artist. Photo courtesy of Kexin Han.


In the exhibition brochure, Samantha writes that the exhibition is dedicated to her mother, grandmother, and matrilineal ancestors. When I read that line, a conversation I had earlier with a friend came to mind.

“As I reach the age of 30, I gradually see my mom in myself, and I also start seeing my grandma in my mom.”

It might be personal and subjective for each person to describe their relationships with their mothers and grandmothers. However, there is no way to deny that the histories, memories, traumas, and many other things our mothers and grandmothers experienced also shape who we are today.


During my trip back to my hometown, Ningxia (a small province in Northwestern China), I took my maternal grandmother’s name stamp and wood Buddha bead bracelet with me on my trip back to Toronto. Through the object that she used to prove her identity, I feel her journey of pursuing female career independence in me. Meanwhile, whenever I wear the bracelet that soothes her uncertainty, I sense the same energy and take it as a source of stability. It has been 10 years since my grandmother passed away, and this exhibition leads me to reflect on how the connection between my grandma and myself still remains one of the strongest factors that shape who I am even today.


Beyond What We See: Bring Multiple Senses into the Exhibition Experience


Like the installation work I discussed earlier, one aspect I enjoyed a lot during my visit to this exhibition is that the art pieces and curatorial design invite the visitors to go beyond seeing and viewing the artwork.


While Apilado’s installation invites people to sit inside the blankets, when you walk into the room where three embroidered sarees from Par Nair’s Letters of Haunting (2022-2023) series are displayed, you will also smell the scent of jasmine. The sarees run from the ceiling through the floor toward the entrance of the display room with words stitched on the fabric with soft and brightly colored threads.


Fig.3 The room that displays Par Nair's Letters of Haunting (2022-2023). Courtesy of the artist. Photo courtesy of Kexin Han.


Time after time, especially with today’s heavy emphasis on digital content and social media, we would ask ourselves: why would I visit an exhibition physically? Personally, it’s always the unique considerations the artists and curators take to arrange pieces together and make the visitors resonate further from just seeing them.


Another great example from the exhibition is Julie Gladstone’s digital project, Portal into Dreamspace (2022). This project stitches photographs of her great-grandmother’s embroidered lace patterns with a soundscape inspired by ancient Ladino lullabies. Instead of locating the display screen in a separate room, the changing patterns on the screen illuminate the room and Gladstone’s other artworks with colors.


Fig.4 One of the embroidered lace patterns of Portal into Dreamspace (2022), by Julie Gladstone. Courtesy of the artist.

Photo courtesy of Kexin Han.


Building on this design, the exhibition can enhance the visitor experience, especially for those unfamiliar with English or who find it challenging to view artworks visually. For example, even when someone cannot see the blankets, they can still use their hands to feel the texture and patterns on the fabric.


Why You Should Visit & Upcoming Events

With Mother's Day approaching, this exhibition gives us a perfect opportunity to think about our connections with our matrilineal ancestors, our roots, and our identities.


The Love That Remains is one of the exhibitions produced by the three MVS Curatorial Studies graduates this year at the John H. Daniels Faculty of Architecture, Landscape, and Design, University of Toronto. If you visit the Art Museum, you can also see these exhibitions:



All of these exhibitions are free to the public.


Additionally, you can attend these events to communicate with the curator and the three artists face-to-face.


Saturday, May 11, 2pm–3pm

University of Toronto Art Centre


Saturday, May 25, 2pm–3pm

University of Toronto Art Centre




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