‘Weight of a Moving Needle’, a three-part video designed to be played concurrently and side by side in three separate panels. The first panel on the left, shows footage of an embroidery project where I embroidered a series of eight blessing motifs using white thread on red fabric. The middle panel shows footage of a burial ritual where I buried the embroidered motifs in the back garden of a house in Worcestershire England where I currently reside. The right panel shows a ritualistic ceremony of packing and sealing of the eight motifs in two pouches, one within another. The embroidery project was made in eight separate parts, representing qualities desired by the Chinese. I have chosen these motifs due to their common presence on the objects often used and associated by the Peranakan Chinese, such as on wedding paraphernalia, Peranakan ceramics and decorative features in the Peranakan homes. Each motif was carefully and purposefully planned onto the fabric using pencil lines, which I then sewed onto. The act of sewing involves making marks on the surface of a material. By getting another material (thread) into and through it, this process often leaves permanent marks on the surface. The marks left woven into the material becomes indexical imprints of decisions, decisions such as where to mark, when to mark, how to mark, and to mark with what? The marks become registers of specific questions asked by the one who sews; “Where should I start? Where shall my needle emerge from the surface next, and where would the next jab be? How close should the stitches be? Is it necessary to overlap them to create a more solid line? Should I leave gaps between them to allow space for further improvisations. Stitching can be said to be an embodied act of working through thoughts and emotions, and in my motif embroidery project, stitching becomes the registration of desires and hopes.