Dana Goh (b. 2001, Singapore) is a multidisciplinary artist based in London whose practice centres on craft as a form of recollection. Working through craft, she explores the tactile and emotional act of making as a way of holding onto what slips through memory; sensations that feel nostalgic, familiar, and yet ultimately unreal. Her works inhabit the delicate space between remembering and romanticising, where emotion is felt through material, and beauty becomes a vessel for care.

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Rooted in her ongoing research on aesthetic survival as a mode of memory, Goh examines how traditions persist through aesthetic gestures rather than direct transmission. She is interested in how ornament and decoration, often dismissed as secondary, carry weight long after their original functions have faded. Through slow, repetitive processes, her practice reconsiders ornament as an active form of continuity, a way of remembering that operates through touch, texture, and visual pleasure.

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Goh’s practice is grounded in the physical intimacy of craft. She works with materials that are inherently tender and responsive to the hand [yarn, thread, beads, and fabric], allowing memory to surface through texture and repetition. Each gesture of tufting, stitching, or beading becomes a quiet act of devotion, preserving fragments of experience through labour and time. In this way, her work treats ornament not as embellishment, but as a language of survival - one that records emotion through its very excess.

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For Goh, romanticisation is not escapism but a methodology. It is a way of attending closely to what is fragile or lost. Her works linger within ambiguity: between function and beauty, craft and art, reality and recollection. To romanticise, in her practice, is to give form to what is fading; to translate longing into material presence. Through softness and ornamentation, she reframes the decorative as an intellectual and affective act, a means of rethinking how memory might persist through beauty itself.

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Her practice ultimately reflects on how craft enables remembering without words - through the haptic, emotional, and ornamental. By embracing the slow gestures of making, she reveals how aesthetic survival becomes its own form of continuity: a living archive built from tenderness, care, and repetition. Goh’s works do not seek resolution; instead, they invite viewers to dwell within in-between states -  where memory blurs with imagination, and where beauty quietly endures as a form of remembrance.

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A graduate of the Royal College of Art (2024), Goh has exhibited internationally in London, New York, Vienna, Newcastle Upon Tyne, Liverpool, Shanghai, Singapore, and Seoul. She is a finalist for the VAO UK & International Emerging Artist Award 2024 (Young Artist), a selected artist for the Emerging Woman Artist Award Art Prize (2024), and longlisted for the Aesthetica Art Prize (2025). Alongside her art practice, she is the founder of Qloud Collective, a curatorial platform supporting emerging voices through cross-cultural and interdisciplinary exchange.