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In the early years, when we were still working alongside our highland workshop partners, all of our production took place on the plateau.
Then the pandemic arrived. We were suddenly unable to travel, and our conversations were reduced to video calls.
For a time, our hands had nothing to do.
That unexpected pause—uncertain in length and direction—created a quiet space. In that space, we began asking ourselves what we could continue to do, even from afar.
We hoped to carry forward that handmade sensibility in a way that echoed what we had once done together. So during that still period, we began learning to dye yarn ourselves in Taiwan.
Though separated by thousands of miles, continuing to experiment and practice felt, in its own way, like we were still working alongside them.
With no experience but a great deal of curiosity, we set a pot on the stove in our kitchen—filling it with water, turning up the heat, lowering in skeins of undyed yarn, and then just going for it—pouring in dye, sprinkling powders, and watching what might happen as the water warmed.
The colors rarely turned out even close to what we had imagined. Some combinations surprised us with their beauty; others became lessons.
Pot after pot, skein after skein, we began to understand how color behaved in water and fiber. This was how Shangdrok’s dye practice came into focus.
It was never part of a grand plan. It grew out of a stretch of blankness—like undyed yarn gradually finding its color.