Woven into this remarkable works of fabric sculpture are incredible details, from metallic sheen and scratches on a recreated pay phone to grime and fish skeletons on dirty dishes (complete with fabric “water” pouring into the sink).

Working out of Beijing, China, Mongolian artist Gao Rong sews scenes from her own history, drawing on time spent in past apartments, family homes and familiar streets. At the same time, the objects she chooses are easy for anyone to relate to.

Her “meticulously crafted and embroidered pay phone,” for instance, “replicates the chips and scratches of a once-shiny public” utility, preserving the memory of a modern relic. Structurally, the work employs wood, metal, sponge and foam as shaping materials, all covered in detail-driven cloth.

In her own way, Rong is preserving a family tradition, adapting a legacy practice to create a new kind of art. In her more elaborate settings, it can be hard to tell that embroidery is the visible expression, but once realized, that lends a kind of ambiguous softness to nostalgic scenes.

More about the artist: “Gao Rong takes the ordinary and makes it extraordinary. In banal moments of the everyday – waiting at a bus stop, making a call from a public phone, collecting the mail, catching a cab – she sees a deeper significance. She re-creates quotidian things from her student days and from her life today as an artist in Beijing, documenting her existence in a dramatically fast-changing city. With her hyper-real embroidered sculptures she is recording the memories of a 1980s generation and their experiences of a transforming post-Mao China.”

Her projects intentionally question tradition: “Think of Chinese embroidery and you tend to imagine dragons, phoenixes, and blossoms applied with tiny, delicate stitches – a feminine craft from the imperial past. Gao Rong subverts this notion of decorative ‘women’s work,’ creating large-scale 3D works in stitched fabric wrapped around an armature of sponge, steel frames and wire.”

“Exact representations of peeling paint, moldy shower rooms, electrical fuse boxes, public telephones and bus timetables replace the traditional motifs. Embroidery has become her visual language … it appears astonishingly real. On closer inspection you see that every single detail is embroidered fabric … evocative and nostalgic.”

Typical art travels inside, safely stowed in carefully-packed containers to prevent damage – these drawings do the opposite, playing up the folk-artsy practice of scribbling into built-up grime on vehicles.

“Using his finger to scribe into the layer of dirt built-up from exhaust emissions,” Ben Long “creates elaborate drawings on the rear shutters of white haulage trucks. In this on-going series, collectively entitled The Great Travelling Art Exhibition, he expands upon the daubing and crude slogans that commonly adorn commercial freight vehicles.”

Some of the pieces will be rapidly wiped away by rain or vandals, but others have survived for as long as six months and on long cross-country road-trips made by their drivers. Like street art, these reverse graffiti works are susceptible to the elements and necessarily temporary.

The artist’s motivations are various, but include a desire to make his work more accessible outside of traditional gallery spaces, reduce the costs of creative expression by using free materials and obviating the need for a studio space in which to create.

At the same time, there are a lot of artistic conventions still in play here – hallmarks of the ‘high art’ world, as it were. Long crafts these compositions within (and with reference to) a fixed frame, much like a canvass, and signs the pieces as well.