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A RENDEIRA BY SARA RATOLA
Lives in Portugal



Passagem
2021
30.3 x 13.7 in
(77 x 35 cm)


Sara’s work is highly influenced by her love for the land and the heritage that surrounds her. Curiosity is one of her great characteristics; she has always shown an interest in ancient textile manipulation techniques. Knowing how they are done, why they are done that way, what they represent, and how they came about are some of her constant questions. In this search for answers, she manages to give them new life without ever jeopardizing all the heritage and knowledge that each of the techniques represents.


Currently, the techniques she uses most are Arraiolos Embroidery, Free Embroidery, Latch Hook, and Crochet. She either performs them separately or combines them, giving them a new narrative. Another characteristic of her work is the representation of the beauty of the natural world, the landscape, and all the problems they currently face. Climate issues are one of her biggest concerns. Awakening awareness so that everyone, in their micro-world, can do better and leave a slightly better world for future generations is one of her goals.


Sara has three young daughters, and educating them will always be her greatest work. If through her work she can, through beauty, make someone believe that we still have time to create a better world with more love, then she will have achieved one of her purposes.



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A RENDEIRA BY SARA RATOLA
Lives in Portugal



Revolta Da Flora
2023
56.2 x 22.4 x 1.9 in
(143 x 57 x 5 cm)


Sara’s work is highly influenced by her love for the land and the heritage that surrounds her. Curiosity is one of her great characteristics; she has always shown an interest in ancient textile manipulation techniques. Knowing how they are done, why they are done that way, what they represent, and how they came about are some of her constant questions. In this search for answers, she manages to give them new life without ever jeopardizing all the heritage and knowledge that each of the techniques represents.


Currently, the techniques she uses most are Arraiolos Embroidery, Free Embroidery, Latch Hook, and Crochet. She either performs them separately or combines them, giving them a new narrative. Another characteristic of her work is the representation of the beauty of the natural world, the landscape, and all the problems they currently face. Climate issues are one of her biggest concerns. Awakening awareness so that everyone, in their micro-world, can do better and leave a slightly better world for future generations is one of her goals.


Sara has three young daughters, and educating them will always be her greatest work. If through her work she can, through beauty, make someone believe that we still have time to create a better world with more love, then she will have achieved one of her purposes.



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ADRIANA FERLA
Lives in Brazil



Boi Buriti
2022
4.21 x 4.21 x 0.27 in
(10.6 x 10.6 x 0.6 cm)



Adriana’s artistic expression is a captivating journey, skillfully capturing ephemeral moments through a delicate interplay of gestures and bold contrasts. Her keen observations, translated into drawings and impressions, unfold as vibrant narratives depicting the essence of diverse places and people.


With meticulous craftsmanship, Adriana’s embroidery takes form stitch by stitch, deliberately paced, giving life to characters that resonate with the individuality of each subject. From intricately detailed, palm-sized embroidered landscapes to expansive textile panels, Adriana’s work serves as a visual odyssey.


Each piece, a testament to her skill and creativity, holds the power to evoke memories. Whether inspired by the landscapes she has visited or the people she has encountered, her art becomes a conduit for revealing cultural experiences. The festive spirit of events like the Bumba Meu Boi of Maranhão, Brazil, comes alive in her work. Viewers are transported into the heart of vibrant celebrations in the series of embroideries Bumba Meu Boi, which has currently eight tiny artworks. Adriana is expanding the series with at least four more pieces. Adriana’s art is not merely a visual feast but a sensory journey, inviting audiences to connect with the rich tapestry of her experiences and the myriad stories woven into each meticulously crafted piece.



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ADRIANA FERLA
Lives in Brazil



Cazumbá
2023
4.21 x 4.21 x 0.3 in
(10.6 x 10.6 x 0.7 cm)



Adriana’s artistic expression is a captivating journey, skillfully capturing ephemeral moments through a delicate interplay of gestures and bold contrasts. Her keen observations, translated into drawings and impressions, unfold as vibrant narratives depicting the essence of diverse places and people.


With meticulous craftsmanship, Adriana’s embroidery takes form stitch by stitch, deliberately paced, giving life to characters that resonate with the individuality of each subject. From intricately detailed, palm-sized embroidered landscapes to expansive textile panels, Adriana’s work serves as a visual odyssey.


Each piece, a testament to her skill and creativity, holds the power to evoke memories. Whether inspired by the landscapes she has visited or the people she has encountered, her art becomes a conduit for revealing cultural experiences. The festive spirit of events like the Bumba Meu Boi of Maranhão, Brazil, comes alive in her work. Viewers are transported into the heart of vibrant celebrations in the series of embroideries Bumba Meu Boi, which has currently eight tiny artworks. Adriana is expanding the series with at least four more pieces. Adriana’s art is not merely a visual feast but a sensory journey, inviting audiences to connect with the rich tapestry of her experiences and the myriad stories woven into each meticulously crafted piece.



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AMELIA NIN
Lives in Germany



Allegory of Origin
2023
23.6 x 23.6 in
(60 x 60 cm)



Amelia Nin’s work is the symbolic and intuitive expression of the longing for a closer relationship with nature, a bridge between the real world and the intangible. She creates textile abstractions with a poetic focus on details, reflections that she traces on the fabric with needle and thread, embroidering the ungraspable. Weaving and interweaving fabrics that she recycles but also transforms by dyeing, painting, bleaching, or burning, she creates textures that explore the relationship between the micro and the macro cosmos.


She is interested in working with textiles because they are charged with memory and intimacy, they are part of her identity. She rescues the traces that time leaves on textiles, without hiding them, but on the contrary, amplifying and transcending them. They are the evidence of the unstoppable passage of time, of our impermanence and transience. Lichens came to meet her and revealed their magic. Not only for their aesthetic richness but also from a philosophical point of view. In them, she sees mysteries that captivate her, such as the origin of things and the evolution of life and our vulnerable existence in the universe.


At first glance, lichens seem like an insignificant speck on a surface. But if the viewer is attentive and gets closer, he discovers a fascinating world of shapes and colors. Shapes that make her think of an explosion of creative energy, of the origin of life.



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AMELIA NIN
Lives in Germany



Instants of Becoming
2023
43.3 x 15.7 x 11.8 in
(110 x 40 x 30 cm)



Amelia Nin’s work is the symbolic and intuitive expression of the longing for a closer relationship with nature, a bridge between the real world and the intangible. She creates textile abstractions with a poetic focus on details, reflections that she traces on the fabric with needle and thread, embroidering the ungraspable. Weaving and interweaving fabrics that she recycles but also transforms by dyeing, painting, bleaching, or burning, she creates textures that explore the relationship between the micro and the macro cosmos.


She is interested in working with textiles because they are charged with memory and intimacy, they are part of her identity. She rescues the traces that time leaves on textiles, without hiding them, but on the contrary, amplifying and transcending them. They are the evidence of the unstoppable passage of time, of our impermanence and transience. Lichens came to meet her and revealed their magic. Not only for their aesthetic richness but also from a philosophical point of view. In them, she sees mysteries that captivate her, such as the origin of things and the evolution of life and our vulnerable existence in the universe.


At first glance, lichens seem like an insignificant speck on a surface. But if the viewer is attentive and gets closer, he discovers a fascinating world of shapes and colors. Shapes that make her think of an explosion of creative energy, of the origin of life.



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ANNA TSVELL
Lives in Serbia



Santa Monica Spring Breeze
2024
17.3 x 9.4 in
(44 x 24 cm)



Anna Tsvell is focusing on exploring nature textures through her artworks. Anna’s fiber artworks are always hand embroidered on transparent fabric - tulle.


Anna wants to show the importance of seeing the invisible on physical and mental levels both, the back side of Anna’s works is as substantial as the front side, both sides are making the work complete and volumetric.
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ANNA TSVELL
Lives in Serbia



Solar Eclipse
2023
33 x 26 in
(83.8 x 66 cm)



Anna Tsvell is focusing on exploring nature textures through her artworks. Anna’s fiber artworks are always hand embroidered on transparent fabric - tulle.


Anna wants to show the importance of seeing the invisible on physical and mental levels both, the back side of Anna’s works is as substantial as the front side, both sides are making the work complete and volumetric.
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ANNIKA ANDERSSON
Lives in Sweden



Connecting Landscapes
2022
51 x 51 x 6 in
(129,5 x 129,5 x 15,2 cm)



As a textile artist, Annika Andersson finds herself in the weaving tradition. In the limitations of the loom, she finds security and challenges. Central to her working method is the dyeing of textile materials and fibers. Her interest in how the threads in the warp and weft meet in the fabric to form surfaces and texture is a constant driving force.


Annika is inspired and feels tenderness for all kinds of surfaces with traces of time and life, impermanence, and chaos that contrast with the need for control. In recent years, Annika has focused on exploring three-dimensional form in textiles by building up surfaces and structures that she manipulates in various ways by chance as an assistant. During an artist-in-residence at the Icelandic Textile Center in Blönduos in 2020, Annika began working with soft sculptures called landscapes. Her inspiration very much comes from the sceneries that she experienced during her stay.


The blackness in nature and the wrinkled mountains are impressions Annika takes with her in the artistic work. These artworks are made in 3D weaving in hand-dyed wool and silk. The process starts with dyeing the yarn in many different colors. After that comes the weaving and shaping of the form. At the same time as Annika fixes the shape, she colors over the work with black, and you can now see more or less from the original colors.



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ANNIKA ANDERSSON
Lives in Sweden



Connecting Landscapes II
2022
67 x 12 x 8 in
(170.1 x 30.4 x 20.3 cm)



As a textile artist, Annika Andersson finds herself in the weaving tradition. In the limitations of the loom, she finds security and challenges. Central to her working method is the dyeing of textile materials and fibers. Her interest in how the threads in the warp and weft meet in the fabric to form surfaces and texture is a constant driving force.


Annika is inspired and feels tenderness for all kinds of surfaces with traces of time and life, impermanence, and chaos that contrast with the need for control. In recent years, Annika has focused on exploring three-dimensional form in textiles by building up surfaces and structures that she manipulates in various ways by chance as an assistant. During an artist-in-residence at the Icelandic Textile Center in Blönduos in 2020, Annika began working with soft sculptures called landscapes. Her inspiration very much comes from the sceneries that she experienced during her stay.


The blackness in nature and the wrinkled mountains are impressions Annika takes with her in the artistic work. These artworks are made in 3D weaving in hand-dyed wool and silk. The process starts with dyeing the yarn in many different colors. After that comes the weaving and shaping of the form. At the same time as Annika fixes the shape, she colors over the work with black, and you can now see more or less from the original colors.



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BARBARA ASH
Lives in England



Returning the Gaze
2023
14.5 x 8 x 2 in
(36.8 x 20.3 x 5 cm)



Barbara explores ideas of power, individuality, and freedom from a feminist perspective; collaging combinations of materials and dynamics – mixing up 2D and 3D, putting fabric sculpture and linocut print elements together, bringing together notions of hard and soft sculpture, and juggling “serious” socio-political issues with a degree of absurdity/humor, often in an accessible “pleasant” pastel-colored visual format. She enjoys the challenge of blurring boundaries by creatively using different textile materials alongside more “traditional” techniques, often introducing collaged lace trim with carved forms and hand-sewn hanging canvas sculptures festooned with repeated lino designs to produce unusual three-dimensional relationships and mixed media sculptural objects.


She states, “I need to make art that talks about female experience; I’m interested in themes of freedom, power, and girlhood and make work from an imagination-based, often intimate, autobiographical approach, linking with universal issues, playfully using toys and dolls as slightly “dark” devices to talk about social issues, specifically from a feminist perspective. I make hybrid prints/sculptural forms by collaging combinations of materials with unexpected dynamics.”


“Ash’s work relates to the atmosphere of old fairy-tales and the kind of children’s stories in which adults rediscover child-like sharpness, truthfulness, and innocence as well as gravity. As such, her work can be understood in any culture. The element of naivety in Barbara’s aesthetic belongs to toys, simple utilitarian things or decorations and a dose of kitsch.” Marta Jakimowicz, Curator and critic, Deccan Herald, Bangalore, India.



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BARBARA ASH
Lives in England



The Forest is Shrinking 2
2024
28 x 20 x 2.5 in
(71.1 x 50.8 x 6.3 cm)



Barbara explores ideas of power, individuality, and freedom from a feminist perspective; collaging combinations of materials and dynamics – mixing up 2D and 3D, putting fabric sculpture and linocut print elements together, bringing together notions of hard and soft sculpture, and juggling “serious” socio-political issues with a degree of absurdity/humor, often in an accessible “pleasant” pastel-colored visual format. She enjoys the challenge of blurring boundaries by creatively using different textile materials alongside more “traditional” techniques, often introducing collaged lace trim with carved forms and hand-sewn hanging canvas sculptures festooned with repeated lino designs to produce unusual three-dimensional relationships and mixed media sculptural objects.


She states, “I need to make art that talks about female experience; I’m interested in themes of freedom, power, and girlhood and make work from an imagination-based, often intimate, autobiographical approach, linking with universal issues, playfully using toys and dolls as slightly “dark” devices to talk about social issues, specifically from a feminist perspective. I make hybrid prints/sculptural forms by collaging combinations of materials with unexpected dynamics.”


“Ash’s work relates to the atmosphere of old fairy-tales and the kind of children’s stories in which adults rediscover child-like sharpness, truthfulness, and innocence as well as gravity. As such, her work can be understood in any culture. The element of naivety in Barbara’s aesthetic belongs to toys, simple utilitarian things or decorations and a dose of kitsch.” Marta Jakimowicz, Curator and critic, Deccan Herald, Bangalore, India.



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BEATA PROCHOWSKA
Lives in Germany



Metamorphosis
2023


Left Artwork:
8.5 x 12.5 in
(21.5 x 31.7)


Center Artwork:
8.5 x 12.5 in
(21.5 x 21.5 cm)


Right Artwork:
8.5 x 12.5 in
(21.5 x 31.7)



Textiles and textile materials are storytellers... their texture, their feel, their structure make them ideal media for metaphor, for conveying thoughts and feelings. Working with them has a special character and is inextricably linked to the concept of time - time as a magnifying glass for the (own) past but also to be able to see exactly what is - now. The needle as an instrument of cognition and the thread as a model of memory, creating connections to the beyond, to the now.


There are recurring themes in her work: social and gender inequality, change/transformation of values, the question of responsibility, our feelings in the turbulent times we live in... One topic that she is dealing with more and more frequently is the accessibility of art for people who cannot see or are visually impaired.


The cycle “Metamorphoses” is now emerging from this idea. Here is a triptych in which ordered structures meet disordered structures (form meets anti-form) and address our sense of touch. The experience of the change of aggregate states of the material, the transformation, is palpable in a haptically concrete form. This work can be touched.



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BIJOU ARTS
Lives in the USA



Eagle
2023
45 x 38 in
(114.3 x 96.5 cm)



Sally Nicholson, an accomplished artist and creative visionary, is a master of iconography, employing a unique language within her work that intricately weaves together mythical, heroic, and historic symbols. With a profound appreciation for beautiful fabrics, intense color, and luxurious textures, Nicholson infuses her icons with a rich narrative, wherein humor and pathos dance harmoniously around each subject.


Situated in the picturesque locale of Geyserville, Sally exercises her artistic prowess in a studio where silk, brocade, and gilded textiles metamorphose into the canvas for her creations. The meticulous process involves cutting images from fabric, followed by expert satin stitching, resulting in a captivating synthesis of texture and form.


Sally Nicholson’s artistic odyssey is a testament to a life lived at the intersection of imagination and skill, where every icon becomes a portal to a captivating narrative, inviting audiences into a world where the sacred and the profane coalesce in a visually stunning and emotionally resonant dance.


CREDITS: Text and photo by the artist.



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BIJOU ARTS
Lives in the USA



Honey Bees
2023
45 x 38 in
(114.3 x 96.5 cm)



Sally Nicholson, an accomplished artist and creative visionary, is a master of iconography, employing a unique language within her work that intricately weaves together mythical, heroic, and historic symbols. With a profound appreciation for beautiful fabrics, intense color, and luxurious textures, Nicholson infuses her icons with a rich narrative, wherein humor and pathos dance harmoniously around each subject.


Situated in the picturesque locale of Geyserville, Sally exercises her artistic prowess in a studio where silk, brocade, and gilded textiles metamorphose into the canvas for her creations. The meticulous process involves cutting images from fabric, followed by expert satin stitching, resulting in a captivating synthesis of texture and form.


Sally Nicholson’s artistic odyssey is a testament to a life lived at the intersection of imagination and skill, where every icon becomes a portal to a captivating narrative, inviting audiences into a world where the sacred and the profane coalesce in a visually stunning and emotionally resonant dance.


CREDITS: Text and photo by the artist.



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BROOKS HARRIS STEVENS
Lives in the USA



Mending: Gold Community, Action Shot
2018
20 x 24 x 1 in
(50.8 x 60.9 x 2.5 cm)



Working as an interdisciplinary artist, Brooks escapes in the creation of work that is deeply rooted in the construction and use of textiles. The understanding and love of cloth is one that continually drives Brooks’s artistic interpretation as her concepts evolve from mending textiles to the mending of land, the built environment, and re-creating forms of textiles based on objects that are reflective of her personal histories. These meditative and ritualistic acts allow Brooks to find solace through expressive handwork creating new work highlighting issues of cultural and political complexities.


Responding to and crafting the domestic and subverting the political allows for a transformation of material and meaning achieved through stitching, weaving, tufting, beading, as well as performance, photography, and video. Manual and digital transformations express a distinct voice linked to personal experiences and concepts that connect to the collective use, understanding, and appreciation of how objects and materials serve significant roles through human experiences. Taking non-traditional routes in her creative practice is the impetus in finding new ways of making and pushing social boundaries while using the familiar.


The intersection of materials and techniques connects Brooks to the history of textiles and an understanding of what a simple needle and thread can achieve. These simple bits and pieces lead Brooks to find answers and determine new questions in a rapidly changing world.



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BROOKS HARRIS STEVENS
Lives in the USA



Mending: Gold Community
2018
20 x 24 x 1 in
(50.8 x 60.9 x 2.5 cm)



Working as an interdisciplinary artist, Brooks escapes in the creation of work that is deeply rooted in the construction and use of textiles. The understanding and love of cloth is one that continually drives Brooks’s artistic interpretation as her concepts evolve from mending textiles to the mending of land, the built environment, and re-creating forms of textiles based on objects that are reflective of her personal histories. These meditative and ritualistic acts allow Brooks to find solace through expressive handwork creating new work highlighting issues of cultural and political complexities.


Responding to and crafting the domestic and subverting the political allows for a transformation of material and meaning achieved through stitching, weaving, tufting, beading, as well as performance, photography, and video. Manual and digital transformations express a distinct voice linked to personal experiences and concepts that connect to the collective use, understanding, and appreciation of how objects and materials serve significant roles through human experiences. Taking non-traditional routes in her creative practice is the impetus in finding new ways of making and pushing social boundaries while using the familiar.


The intersection of materials and techniques connects Brooks to the history of textiles and an understanding of what a simple needle and thread can achieve. These simple bits and pieces lead Brooks to find answers and determine new questions in a rapidly changing world.



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BÉRÉNICE COURTIN
Lives in France



Digital Jacquard
2023
1’54”



In her artistic journey, Bérénice Courtin is driven by a profound desire to unearth the hidden narratives of history, to peel back the layers of time and reveal stories long forgotten or overlooked. Through her work, she seeks to shine a light on these hidden histories, weaving them into the fabric of our collective consciousness. Central to her practice is a relentless interrogation of conventional modes of communication.


In a world inundated with noise and distraction, she strives to disrupt the status quo, to challenge the way we interact with and interpret information. Through her art, she invites viewers to question the narratives they encounter, to engage in dialogue and debate, and to embrace the complexities of human expression. At the heart of her exploration lies the ever-evolving relationship between humanity and technology.


In an age defined by rapid innovation and exponential growth, she is fascinated by the ways in which our tools shape our understanding of the world around us. Each piece she creates is a testament to the resilience of the human spirit, a celebration of our capacity for adaptation and transformation. In a world fraught with uncertainty and upheaval, she believes in the power of art to inspire hope and provoke change. Through her work, she hopes to spark a conversation, to challenge assumptions, and to inspire others to embrace the boundless possibilities of creative expression.



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BÉRÉNICE COURTIN
Lives in France



Webs Of Power 2
2023
1’59”



In her artistic journey, Bérénice Courtin is driven by a profound desire to unearth the hidden narratives of history, to peel back the layers of time and reveal stories long forgotten or overlooked. Through her work, she seeks to shine a light on these hidden histories, weaving them into the fabric of our collective consciousness. Central to her practice is a relentless interrogation of conventional modes of communication.


In a world inundated with noise and distraction, she strives to disrupt the status quo, to challenge the way we interact with and interpret information. Through her art, she invites viewers to question the narratives they encounter, to engage in dialogue and debate, and to embrace the complexities of human expression. At the heart of her exploration lies the ever-evolving relationship between humanity and technology.


In an age defined by rapid innovation and exponential growth, she is fascinated by the ways in which our tools shape our understanding of the world around us. Each piece she creates is a testament to the resilience of the human spirit, a celebration of our capacity for adaptation and transformation. In a world fraught with uncertainty and upheaval, she believes in the power of art to inspire hope and provoke change. Through her work, she hopes to spark a conversation, to challenge assumptions, and to inspire others to embrace the boundless possibilities of creative expression.



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CATHERINE REINHART
Lives in the USA



artifact: leggings
2020
20 x 16 x 1 in
(50.8 x 40.6 x 2.5 cm)



She is an interdisciplinary artist who makes fiber art, sculpture, and conducts socially engaged projects with abandoned textiles. These works center on the themes of domestic labor, connection, and care. Tending to others is built on consistent, repetitive actions that provide comfort, ease suffering, and connect us with our fellow man. Mending and stitching by hand parallel these tending actions. By using them, she joins the emerging discourse on the unseen contributions of women and mothers to our social fabric and the contemporary art world.


Through the reuse of found textiles and ritualistic processes, she communicates the transformative power of caregiving. As an artist and mother, she is both archivist and field hand, creating studies in the accretion of domestic life and cataloging its labors. She disassembles, reconfigures, and alters abandoned textiles into flag works. Stratums of fiber in her sculptures reference sedimentary layers and the state of her laundry pile. She maps the territory of her home-place with the visual language of topographic maps.


With these works, she joins the growing ranks of a constellation of artist-mothers giving voice to the maternal and domestic experience. Recently, her socially engaged projects rely on the communal actions of mending together. With her work, she contributes to relevant and timely discussions reframing the value of care and connection to our neighbors and our possessions. She gives voice and holds space for stories of repair, loss, and kinship.



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CATHERINE REINHART
Lives in the USA



artifact: undies
2020
19 x 15.5 x 1 in
(48.2 x 39.3 x 2.5 cm)



She is an interdisciplinary artist who makes fiber art, sculpture, and conducts socially engaged projects with abandoned textiles. These works center on the themes of domestic labor, connection, and care. Tending to others is built on consistent, repetitive actions that provide comfort, ease suffering, and connect us with our fellow man. Mending and stitching by hand parallel these tending actions. By using them, she joins the emerging discourse on the unseen contributions of women and mothers to our social fabric and the contemporary art world.


Through the reuse of found textiles and ritualistic processes, she communicates the transformative power of caregiving. As an artist and mother, she is both archivist and field hand, creating studies in the accretion of domestic life and cataloging its labors. She disassembles, reconfigures, and alters abandoned textiles into flag works. Stratums of fiber in her sculptures reference sedimentary layers and the state of her laundry pile. She maps the territory of her home-place with the visual language of topographic maps.


With these works, she joins the growing ranks of a constellation of artist-mothers giving voice to the maternal and domestic experience. Recently, her socially engaged projects rely on the communal actions of mending together. With her work, she contributes to relevant and timely discussions reframing the value of care and connection to our neighbors and our possessions. She gives voice and holds space for stories of repair, loss, and kinship.



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CHARLOTTE SCHMID-MAYBACH
Lives in the USA



Big Forest
2020
62 x 50 in
(157.4 x 127 cm)



Using a multidisciplinary approach combining photography, textile and assemblage, Charlotte Schmid-Maybach engages with landscape both natural and urban. She sews on her archival ink jet prints with a free-motion sewing machine allowing her to draw with thread. Sometimes she incorporates additional layers of textile, maps or found objects. The bright metallic and cotton fibers she uses are a transitional element in her work, and the finished paper pieces feel like fabric. Her intervention through sewing blurs the line between what’s real in the photograph and what’s beyond the picture or imagined.


Themes of nature, myth, and fairy tales often emerge, with a particular focus on trees and forests. Her work is layered and tactile and invites the viewer to take a closer look. Her most recent piece “Night Threads” begins with a loose grid structure of aerial views at night. She applies thick, layered, sewn thread with loose hanging ends inspired by the designer Guo Pei who uses antique brocade in her Himalaya dress series. Charlotte integrates pieces of vintage lace set against the dark background and electric orange lights of her night landscape.


Her work is filled with contrasts: calm and frenetic, quiet and loud, day and night, real and unreal, inside/outside. A visual dialogue arises between these opposites and the perception of harmony in the midst of chaos.



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CHARLOTTE SCHMID-MAYBACH
Lives in the USA



Night Threads
2024
34 x 39 in
(86.3 x 99 cm)



Using a multidisciplinary approach combining photography, textile and assemblage, Charlotte Schmid-Maybach engages with landscape both natural and urban. She sews on her archival ink jet prints with a free-motion sewing machine allowing her to draw with thread. Sometimes she incorporates additional layers of textile, maps or found objects. The bright metallic and cotton fibers she uses are a transitional element in her work, and the finished paper pieces feel like fabric. Her intervention through sewing blurs the line between what’s real in the photograph and what’s beyond the picture or imagined.


Themes of nature, myth, and fairy tales often emerge, with a particular focus on trees and forests. Her work is layered and tactile and invites the viewer to take a closer look. Her most recent piece “Night Threads” begins with a loose grid structure of aerial views at night. She applies thick, layered, sewn thread with loose hanging ends inspired by the designer Guo Pei who uses antique brocade in her Himalaya dress series. Charlotte integrates pieces of vintage lace set against the dark background and electric orange lights of her night landscape.


Her work is filled with contrasts: calm and frenetic, quiet and loud, day and night, real and unreal, inside/outside. A visual dialogue arises between these opposites and the perception of harmony in the midst of chaos.



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CLUCA
Lives in France



Geography of my matrimonial heritage
2020-21
27 x 47 in
(68.5 x 119.3 cm)


Heritage is a complex matter, both from an individual and collective historical perspective. We move forward on the threads of territories that have been lived in, built, conceived, and developed before us; we are reflected in this past as much as it reflects on us. Through her work, CLUCA tries to capture the intimate, “her memory,” caught up in the threads of collective memories and contemporary or past histories, by recomposing/reconfiguring a “new” narrative.


Navigating between science (concepts), tangible material (mediums), and immaterial (memory) allows her to develop a work whose boundaries are porous, in which each component blends into the other just like the flashbacks forming our memory traces. Early on, thread, as an extension of drawn and written pencil lines, imposed itself pictorially and materially onto paper and canvas. During the last three years, with the discovery of manual and mechanical tufting, she has been exploring this medium further through images/commitments inspired by the street, bringing social changes, from feminist resistance, through Estrucains’ history, and how it reflects on us.


Historically, textile art has been a patient, ancestral art form, destined by its very nature to link, to establish relations, to propose radical change. Intrinsically connected to its roots, its interlaced threads, its inner essence, and its capacity to destabilize us by revealing a new perspective, it has often engendered technological changes and different ways of seeing.


CREDITS: Text and photo by the artist.





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CLUCA
Lives in France



Tuffatore che non si tuffa
(The diver who does not dive)
2022
74 x 59 x 157 in
(187.9 x 149.8 x 398.7 cm)


Heritage is a complex matter, both from an individual and collective historical perspective. We move forward on the threads of territories that have been lived in, built, conceived, and developed before us; we are reflected in this past as much as it reflects on us. Through her work, CLUCA tries to capture the intimate, “her memory,” caught up in the threads of collective memories and contemporary or past histories, by recomposing/reconfiguring a “new” narrative.


Navigating between science (concepts), tangible material (mediums), and immaterial (memory) allows her to develop a work whose boundaries are porous, in which each component blends into the other just like the flashbacks forming our memory traces. Early on, thread, as an extension of drawn and written pencil lines, imposed itself pictorially and materially onto paper and canvas. During the last three years, with the discovery of manual and mechanical tufting, she has been exploring this medium further through images/commitments inspired by the street, bringing social changes, from feminist resistance, through Estrucains’ history, and how it reflects on us.


Historically, textile art has been a patient, ancestral art form, destined by its very nature to link, to establish relations, to propose radical change. Intrinsically connected to its roots, its interlaced threads, its inner essence, and its capacity to destabilize us by revealing a new perspective, it has often engendered technological changes and different ways of seeing.


CREDITS: Text and photo by the artist.





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CRISTIAN VELASCO
Lives in Chile



Las Cuatro Caras de la Dignidad
2019
1’42”



His work focuses on the individual and social space, exploring through the domestic, the landscape, and objects, conceptual and aesthetic problems associated with the body, memory, the concepts of habitability, territory, and time. Interested in work processes and the intersection between industrial and artisanal work, his proposal moves between graphics and textiles, video, performance, relational art, and installation. Textile is used from the material to the conceptual, under the idea of building human ties and dialogues in constant evolution.


The textile is seen as a text capable of constructing and interpreting various realities in the social fabric. The focus of his work is on the human being and his way of relating to the world in the era of consumption, hyper-connectivity, and the disasters produced by the conflicts of capitalism. His work addresses political and social aspects, from sensitive poetics capable of generating reflections on the contemporary individual. He rethinks the limit between everyday objects and their significant possibilities, addressing the practice of embroidery as a philosophical tool that brings us closer to the everyday meaning of life and communities.


Velasco is interested in relational art projects where exchanges and dialogues are established with our meaning of life in the society of fatigue and hyper-productivity. His work explores aspects of anthropology, the dialectics between the useful and the useless, as well as bipolarity and opposites, as enclaves to function in the world of competition, indifference, and heartbreak.



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CRISTIAN VELASCO
Lives in Chile



Pais Soñado
2013
157.4 x 55.1 in
(400 x 140 cm)



His work focuses on the individual and social space, exploring through the domestic, the landscape, and objects, conceptual and aesthetic problems associated with the body, memory, the concepts of habitability, territory, and time. Interested in work processes and the intersection between industrial and artisanal work, his proposal moves between graphics and textiles, video, performance, relational art, and installation. Textile is used from the material to the conceptual, under the idea of building human ties and dialogues in constant evolution.


The textile is seen as a text capable of constructing and interpreting various realities in the social fabric. The focus of his work is on the human being and his way of relating to the world in the era of consumption, hyper-connectivity, and the disasters produced by the conflicts of capitalism. His work addresses political and social aspects, from sensitive poetics capable of generating reflections on the contemporary individual. He rethinks the limit between everyday objects and their significant possibilities, addressing the practice of embroidery as a philosophical tool that brings us closer to the everyday meaning of life and communities.


Velasco is interested in relational art projects where exchanges and dialogues are established with our meaning of life in the society of fatigue and hyper-productivity. His work explores aspects of anthropology, the dialectics between the useful and the useless, as well as bipolarity and opposites, as enclaves to function in the world of competition, indifference, and heartbreak.



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DAN CHARBONNET
Lives in the USA



Minds Swim in Ecstacy
2019
56 x 56 x 3 in
(142.2 x 142.2 x 7.6 cm)



This most recent iteration of woven paintings are somewhat rigid in their arbitrary rules. The taut strips of canvas, the hard edges of acrylic paint, the precise weave pattern. To watch him work is like watching an architect at the drafting table. But if the composition of the canvas seems stiff, it is balanced with bold, carefully orchestrated, and often playful colors. Just as scent or taste may transport us to a moment in time from our past, so too does each color palette in Dan’s paintings.


The warmth of something familiar might be held together by the strength of tradition, rules, and repetition. To experience life colorfully is a choice. His work represents an ideal balance between the network of community and the autonomy offered by isolation in the individual nature of a stripe within its place in a grid. The individual inspired strips feel playfully antagonistic to the more austere interlaced field.


The compositions, though grounded in the rudiments of abstraction, have a familiarity with figurative space as if a familiar scene can emerge at any moment from the pixelated surface. The surface of his painting constructions is initially activated by destroying it through shredding the canvas into strips as if he is shredding the expectations lurking in the history of the medium. It then gets rebuilt through a harmonious weave of colors into a new structure that never forgets its origin as weaved fabric.



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DAN CHARBONNET
Lives in the USA



Skyscapers are Winking
2023
56 x 56 x 3 in
(142.2 x 142.2 x 7.6 cm)



This most recent iteration of woven paintings are somewhat rigid in their arbitrary rules. The taut strips of canvas, the hard edges of acrylic paint, the precise weave pattern. To watch him work is like watching an architect at the drafting table. But if the composition of the canvas seems stiff, it is balanced with bold, carefully orchestrated, and often playful colors. Just as scent or taste may transport us to a moment in time from our past, so too does each color palette in Dan’s paintings.


The warmth of something familiar might be held together by the strength of tradition, rules, and repetition. To experience life colorfully is a choice. His work represents an ideal balance between the network of community and the autonomy offered by isolation in the individual nature of a stripe within its place in a grid. The individual inspired strips feel playfully antagonistic to the more austere interlaced field.


The compositions, though grounded in the rudiments of abstraction, have a familiarity with figurative space as if a familiar scene can emerge at any moment from the pixelated surface. The surface of his painting constructions is initially activated by destroying it through shredding the canvas into strips as if he is shredding the expectations lurking in the history of the medium. It then gets rebuilt through a harmonious weave of colors into a new structure that never forgets its origin as weaved fabric.



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DANIELA VIGNOLI
Lives in Brazil



Happiness
2022
24 x 16 x 2 in
(60.9 x 40.6 x 5 cm)



Her work feeds on human beings; it is an investigation into racial, cultural, and social differences. A reflection on this internal strength that each person carries. Her embroidery aims to cross the boundaries of fiction, in which the narrative is limited by the imagination and its representation in art. Here the poetic displacement in the form of embroidery comes with the strength of thought, a desire to transform the places she has been through and that, for some reason, she has photographed.


A language that moves from the real to the fictional and from the fictional to another real. A way of interpreting a concrete experience, of a clear political failure of human vulnerability, offering tools of multiple meanings in an attempt to express a better world. Embroidering, sewing, suturing, repairing has been like the passage of time, like drawing slowly with her camera, a magical, imaginary process that she believes exerts a materializing action through continuous thought. Reviewing the same scene through the heart.


This moment requires a specific state of mind, of total involvement. The result echoes like an internal dialogue, like a prayer. She fully believes in the power of thought and intention as a form of real transformation. Her work is the combination of all of this.



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DANIELA VIGNOLI
Lives in Brazil



Mandala
2023
24 x 16 x 2 in
(60.9 x 40.6 x 5 cm)



Her work feeds on human beings; it is an investigation into racial, cultural, and social differences. A reflection on this internal strength that each person carries. Her embroidery aims to cross the boundaries of fiction, in which the narrative is limited by the imagination and its representation in art. Here the poetic displacement in the form of embroidery comes with the strength of thought, a desire to transform the places she has been through and that, for some reason, she has photographed.


A language that moves from the real to the fictional and from the fictional to another real. A way of interpreting a concrete experience, of a clear political failure of human vulnerability, offering tools of multiple meanings in an attempt to express a better world. Embroidering, sewing, suturing, repairing has been like the passage of time, like drawing slowly with her camera, a magical, imaginary process that she believes exerts a materializing action through continuous thought. Reviewing the same scene through the heart.


This moment requires a specific state of mind, of total involvement. The result echoes like an internal dialogue, like a prayer. She fully believes in the power of thought and intention as a form of real transformation. Her work is the combination of all of this.



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DAWN ERTL
Lives in the USA



Gulf of Mexico 2050
2023
16 x 23 in
(40.6 x 58.4 cm)



She is an artist who makes work exploring environmental issues connected to human behaviors using fiber, public engagement, research, and data-driven algorithms. She uses weaving, knitting, and joining techniques to establish foundational environments that are added onto by building up narratives related to human activity. Her work demonstrates the link to researched information through titles and project statements. Additionally, titles often reference intimate emotional transfers one might exchange while involved in a co-dependent relationship.


She employs color, hand-dyed yarn, and painting to set the tone of the subject matter or location representation. She relies on materials with minimized environmental impacts, like hemp and Tencel, while sometimes incorporating otherwise throw-away items like single-use plastics. She utilizes compositional methods that challenge the viewer to investigate further and to reflect inwardly. She integrates varied textures, material placement, and spacing rhythms to guide perspectives.


For weavings, in particular, she uses open and compacted material spacing to invite conversation and to provide obstacles. Both methods invite compromise and consideration of the landscape and subject. She also subverts traditional methodologies to challenge learned generational behaviors. Examples can be seen where fringe is added to weaving that wouldn’t usually have it in a particular area or at all, when paint is added to already dyed fiber, and when yarn is used in open spaces to illustrate the basics of the underlined structure.



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DAWN ERTL
Lives in the USA



My Value, Your Value, Value (their value)
2019
38.5 x 44 in
(97.7 x 111.7 cm)


She is an artist who makes work exploring environmental issues connected to human behaviors using fiber, public engagement, research, and data-driven algorithms. She uses weaving, knitting, and joining techniques to establish foundational environments that are added onto by building up narratives related to human activity. Her work demonstrates the link to researched information through titles and project statements. Additionally, titles often reference intimate emotional transfers one might exchange while involved in a co-dependent relationship.


She employs color, hand-dyed yarn, and painting to set the tone of the subject matter or location representation. She relies on materials with minimized environmental impacts, like hemp and Tencel, while sometimes incorporating otherwise throw-away items like single-use plastics. She utilizes compositional methods that challenge the viewer to investigate further and to reflect inwardly. She integrates varied textures, material placement, and spacing rhythms to guide perspectives.


For weavings, in particular, she uses open and compacted material spacing to invite conversation and to provide obstacles. Both methods invite compromise and consideration of the landscape and subject. She also subverts traditional methodologies to challenge learned generational behaviors. Examples can be seen where fringe is added to weaving that wouldn’t usually have it in a particular area or at all, when paint is added to already dyed fiber, and when yarn is used in open spaces to illustrate the basics of the underlined structure.



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DENISE BLANCHARD
Lives in Chile



Encerado y Clarion
2023
31.5 in x 35.4 in
(80 x 89.9 cm)



Denise Blanchard’s artistic statement reflects a profound commitment to sustainability and creative transformation. Working with recycled materials such as discarded fabrics, used tea bags, and abandoned vintage books, she respects the essence of each material, exploring their formal possibilities through sewing and textile techniques. The manual and artisanal skills employed in her process elevate these old materials, originally destined for waste, into powerful artistic manifestations.


Blanchard’s focus on finding beauty in everyday life is evident in her ability to turn seemingly ordinary items into symbols of creativity and expression. In her exhibition, unused books are ingeniously repurposed into modules conveying a new message, intertwining delicacy and determination. The rescued pages, with their graphics, become a narrative canvas where thread and letters unite as essential elements. Blanchard’s work introduces a semiotic interpretation, granting autonomy to each page and transforming them into graphic sculptures. The term “grapheme” takes on new meaning in her artistic expression, breaking down linguistic elements into the visual realm.


Maria Alcalde Montt, MA in Art Business, acknowledges the essential imprint of reused materials in Blanchard’s work, recognizing the profound intention and creativity embedded in her transformation of everyday items into meaningful and visually striking artworks. She said.



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DENISE BLANCHARD
Lives in Chile



Jet Gevecht met de Mammon
2023
31.5 x 35.4 in
(80 x 89.9 cm)



Denise Blanchard’s artistic statement reflects a profound commitment to sustainability and creative transformation. Working with recycled materials such as discarded fabrics, used tea bags, and abandoned vintage books, she respects the essence of each material, exploring their formal possibilities through sewing and textile techniques. The manual and artisanal skills employed in her process elevate these old materials, originally destined for waste, into powerful artistic manifestations.


Blanchard’s focus on finding beauty in everyday life is evident in her ability to turn seemingly ordinary items into symbols of creativity and expression. In her exhibition, unused books are ingeniously repurposed into modules conveying a new message, intertwining delicacy and determination. The rescued pages, with their graphics, become a narrative canvas where thread and letters unite as essential elements. Blanchard’s work introduces a semiotic interpretation, granting autonomy to each page and transforming them into graphic sculptures. The term “grapheme” takes on new meaning in her artistic expression, breaking down linguistic elements into the visual realm.


Maria Alcalde Montt, MA in Art Business, acknowledges the essential imprint of reused materials in Blanchard’s work, recognizing the profound intention and creativity embedded in her transformation of everyday items into meaningful and visually striking artworks. She said.



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EILEEN BRAUN
Lives in the USA



Freedom
2023
36 x 25 x 18 in
(91.4 x 63.5 x 45.7 cm)



Ms. Braun’s sculptures build on her appreciation of historic materials and techniques formerly considered women’s work of weaving and sewing. She has embraced these inherent techniques, bringing them forward and pairing them with modern fibers, coatings, and discards. The natural rattan reed historically used for basketmaking she employs in her large open sculptures are cloaked in construction-grade rubber, giving them a bit of modern visual mystery. The forms hint at their relationship with the human form.


With her tapestries, she has combined the tasks of sewing and knitting. She utilized worthless factory discard (dressmakers’ pattern tissue) and knit the strands of tissue tool-free (using only her fingers). Close observation reveals the inked pattern and service instructions. She has created folds by draping them then added a flourish of gold embellishment to bring visual movement and a twinkle emanating from the surface.



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EILEEN BRAUN
Lives in the USA



Wild Terrain
2023
32 x 55 x 13 in
(81.2 x 139.7 x 33 cm)



Ms. Braun’s sculptures build on her appreciation of historic materials and techniques formerly considered women’s work of weaving and sewing. She has embraced these inherent techniques, bringing them forward and pairing them with modern fibers, coatings, and discards. The natural rattan reed historically used for basketmaking she employs in her large open sculptures are cloaked in construction-grade rubber, giving them a bit of modern visual mystery. The forms hint at their relationship with the human form.


With her tapestries, she has combined the tasks of sewing and knitting. She utilized worthless factory discard (dressmakers’ pattern tissue) and knit the strands of tissue tool-free (using only her fingers). Close observation reveals the inked pattern and service instructions. She has created folds by draping them then added a flourish of gold embellishment to bring visual movement and a twinkle emanating from the surface.



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ERIK BERGRIN
Lives in the USA



Begin
2018
84 x 30 x 30 in
(182.8 X 76.2 X 76.2 cm)




At some point in his life, Erik’s spiritual practice became so strong it collided with his art practice. The basis of his spiritual studies is to examine his mind using different meditation techniques and discover all the negative states he wants to change. By bringing up all the negative things in himself and knowing how to confront them, he is face to face with his own demons. His work is his way of bringing out his demons. Turning these states of mind into physical objects in order to confront and change them. It is the alchemy of turning these negative states buried in his subconscious into his own creative power and happiness.


Coming from a background in costume design and building, Erik uses the materials and processes used in clothing construction and fiber art to investigate the body sculpturally. Using fiber in its relation to tradition, and techniques such as weaving, coiling, sewing, felting, and embroidery, the materials become cultural symbols about his personal myth. Handling these visceral materials, the work relates to the possibility of housing a person without giving that particular individual an identity. It is a reflection of getting extremely familiar with one’s identity one’s entire life, only to realize the inherent self does not exist.


When a viewer is confronted with the work, they can be awakened to all of these possibilities and the work then becomes a catalyst for change within themselves.



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ERIK BERGRIN
Lives in the USA



Dissolution 8 Emptiness
2021
72 x 20 x 20 in
(182.8 X 50.8 X 50.8 cm)



At some point in his life, Erik’s spiritual practice became so strong it collided with his art practice. The basis of his spiritual studies is to examine his mind using different meditation techniques and discover all the negative states he wants to change. By bringing up all the negative things in himself and knowing how to confront them, he is face to face with his own demons. His work is his way of bringing out his demons. Turning these states of mind into physical objects in order to confront and change them. It is the alchemy of turning these negative states buried in his subconscious into his own creative power and happiness.


Coming from a background in costume design and building, Erik uses the materials and processes used in clothing construction and fiber art to investigate the body sculpturally. Using fiber in its relation to tradition, and techniques such as weaving, coiling, sewing, felting, and embroidery, the materials become cultural symbols about his personal myth. Handling these visceral materials, the work relates to the possibility of housing a person without giving that particular individual an identity. It is a reflection of getting extremely familiar with one’s identity one’s entire life, only to realize the inherent self does not exist.


When a viewer is confronted with the work, they can be awakened to all of these possibilities and the work then becomes a catalyst for change within themselves.



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ESTEFANÍA TARUD KARL
Lives in Chile



Flashlight
2022
39 x 28 x 1 in
(100 x 70 cm)



Embroidering has become not only a suitable technique for Estefanía’s artistic production but also a new part of her routine. Through her work, she seeks to challenge traditional activities culturally assigned to a feminine role, shifting them from their utilitarian dimension to a symbolic one. In the same way, she has explored the inclusive dimension of these techniques, developing diverse works that can be appreciated not only by sight but also by touch.


With the black gabardine, she uses cotton threads to imitate the rays of light that rescue the volume of the images. She has observed hundreds of situations, mainly at night, where light is the protagonist. Turning a light on and off makes images appear and disappear. The baths of light on things make the images become completely different from their shape in regular daylight, as they make the shadow become part of the image.


Nowadays, Estefanía is incorporating the representation of light that surrounds everyday environments into the domesticity of her work, making it a fundamental element for her embroideries. She has observed the various ways in which light accompanies us, and she has realized that she can tell a story with dim light in twilight. It is like painting with light and rescuing the image from the background.



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ESTEFANÍA TARUD KARL
Lives in Chile



Silence
2022
43 x 43 in
(110 x 110 cm)



Embroidering has become not only a suitable technique for Estefanía’s artistic production but also a new part of her routine. Through her work, she seeks to challenge traditional activities culturally assigned to a feminine role, shifting them from their utilitarian dimension to a symbolic one. In the same way, she has explored the inclusive dimension of these techniques, developing diverse works that can be appreciated not only by sight but also by touch.


With the black gabardine, she uses cotton threads to imitate the rays of light that rescue the volume of the images. She has observed hundreds of situations, mainly at night, where light is the protagonist. Turning a light on and off makes images appear and disappear. The baths of light on things make the images become completely different from their shape in regular daylight, as they make the shadow become part of the image.


Nowadays, Estefanía is incorporating the representation of light that surrounds everyday environments into the domesticity of her work, making it a fundamental element for her embroideries. She has observed the various ways in which light accompanies us, and she has realized that she can tell a story with dim light in twilight. It is like painting with light and rescuing the image from the background.



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EVA ALVOR
Lives in Ukraine



Beholder
2023
43 x 36 in
(116.8 x 91.4 cm)



In her works, Eva Alvor focuses primarily on inner emotional experiences. She asks questions about the value of life, the necessity of the destruction of the physical body, and the inevitability of death.


She creates highly detailed and tactile works of art, using materials such as textiles, various textures, and hand embroidery. In these, embroidered lines resemble graphics, while different pieces of fabric create the effect of painting.


The artist often refers to images such as trees, birds, and anatomical details of the body. From combinations of these elements, she creates her fantastical embroidered creatures. In her work, she searches for that elusive line between the beautiful, the sensual, and the alienatingly scary. It’s such a fine line. Finding that moment when the work is finished. That moment when every unnecessary movement no longer makes any sense.
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EVA ALVOR
Lives in Ukraine



Creature 1
2023
43 x 35 in
(109.2 x 88.9 cm)



In her works, Eva Alvor focuses primarily on inner emotional experiences. She asks questions about the value of life, the necessity of the destruction of the physical body, and the inevitability of death.


She creates highly detailed and tactile works of art, using materials such as textiles, various textures, and hand embroidery. In these, embroidered lines resemble graphics, while different pieces of fabric create the effect of painting.


The artist often refers to images such as trees, birds, and anatomical details of the body. From combinations of these elements, she creates her fantastical embroidered creatures. In her work, she searches for that elusive line between the beautiful, the sensual, and the alienatingly scary. It’s such a fine line. Finding that moment when the work is finished. That moment when every unnecessary movement no longer makes any sense.





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FOJE
Lives in Iran



Dining Mountain
2021-22
17.7 x 36.2 x 18.1 in
(45 x 92 x 46 cm)



Designing clothes in Iran is a challenging task due to the suppressive rule and set of laws that limit freedom of expression. To follow her dreams and expand her perspective on the arts and crafts world, Fooziyeh needs to express herself through her arts. Unfortunately, due to the restrictions imposed by the dictator government, she can’t make it in Iran. She has to take her chance on the international scene.


Clothing is a sublime artistic practice for Foje, who believes that it is not just a tool serving human beings but also a companion that befriends one in different climates and environments. Foje’s idea of designing clothes has gradually transformed from working on a utility to making an expressive means of transferring meaning from the inner world to a loyal companion. In a context where women are expected to mute their sensory feelings and communication through their skin, Foje seeks a creative challenge: establishing and developing a relationship with the outer layers —skin and clothing while transcending the conventional definitions of clothing, fashion, garment, fabric, and sewing.


She has a perspective of a collaborative tomorrow and she believes that this tomorrow can happen only if everyone can define their individuality through their character expressions. She believes that looking inside and nourishing creativity from there is the key to individual expression, and that can happen only if people trust their intuition and talents and stop looking at each other as competitors.



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FOJE
Lives in Iran



Hengum Island
2023
17.7 x 37.7 x 18.1 in
(45 x 96 x 46 cm)



Designing clothes in Iran is a challenging task due to the suppressive rule and set of laws that limit freedom of expression. To follow her dreams and expand her perspective on the arts and crafts world, Fooziyeh needs to express herself through her arts. Unfortunately, due to the restrictions imposed by the dictator government, she can’t make it in Iran. She has to take her chance on the international scene.


Clothing is a sublime artistic practice for Foje, who believes that it is not just a tool serving human beings but also a companion that befriends one in different climates and environments. Foje’s idea of designing clothes has gradually transformed from working on a utility to making an expressive means of transferring meaning from the inner world to a loyal companion. In a context where women are expected to mute their sensory feelings and communication through their skin, Foje seeks a creative challenge: establishing and developing a relationship with the outer layers —skin and clothing while transcending the conventional definitions of clothing, fashion, garment, fabric, and sewing.


She has a perspective of a collaborative tomorrow and she believes that this tomorrow can happen only if everyone can define their individuality through their character expressions. She believes that looking inside and nourishing creativity from there is the key to individual expression, and that can happen only if people trust their intuition and talents and stop looking at each other as competitors.





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FRANZISKA WARZOG
Lives in Germany



Cluster
2023
32.3 x 18.1 x 9.8 in
(82 X 45.9 X 24.8 cm)



Franziska Warzog playfully creates organic and erotic sculptures, mainly from used materials, by placing emphasis on a geometric structure. Her sculptures are reminiscent of cult objects but are open in their meaning. They have a tangible and haptic effect that invites you to touch them.


Franziska Warzog was fascinated by textile materials from a very early age because they were colorful and warm, soft or festive, shiny or hairy. As a small child, she tried by using needle and thread to make something that reminded her of dolls or plush toys, which seemed almost alive to her early childhood perception. This more sensual experience was both a contrast and complement to the tribal art that surrounded her in her parents’ home.


The creative use of textile materials between the experience of one’s perception and the demanding dominance of African and other masks meant a search for oneself. This was the first and probably deepest inspiration for the artist to be creative with textile materials. Franziska Warzog is also inspired by the observation of old paintings, currently those of Hieronymus Bosch and Peter Brueghel, father and son, because their paintings suddenly seem to be very realistic again. These early painters have depicted everything human so accurately and imaginatively, a density of representation that is exemplary.





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FRANZISKA WARZOG
Lives in Germany



Fell-Falter
2022
23.6 x 22.8 x 11 in
(59.9 X 57.9 X 27.9 cm)



Franziska Warzog playfully creates organic and erotic sculptures, mainly from used materials, by placing emphasis on a geometric structure. Her sculptures are reminiscent of cult objects but are open in their meaning. They have a tangible and haptic effect that invites you to touch them.


Franziska Warzog was fascinated by textile materials from a very early age because they were colorful and warm, soft or festive, shiny or hairy. As a small child, she tried by using needle and thread to make something that reminded her of dolls or plush toys, which seemed almost alive to her early childhood perception. This more sensual experience was both a contrast and complement to the tribal art that surrounded her in her parents’ home.


The creative use of textile materials between the experience of one’s perception and the demanding dominance of African and other masks meant a search for oneself. This was the first and probably deepest inspiration for the artist to be creative with textile materials. Franziska Warzog is also inspired by the observation of old paintings, currently those of Hieronymus Bosch and Peter Brueghel, father and son, because their paintings suddenly seem to be very realistic again. These early painters have depicted everything human so accurately and imaginatively, a density of representation that is exemplary.





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GIAN PADILLA SUAREZ
Lives in Spain



Improvisaciones
2021


Left Artwork:
98.4 x 27.6 in
(250 X 70 cm)


Center Artwork:
90.6 x 27.6 in
(230 X 70 cm)


Right Artwork:
98.4 x 27.6 in
(250 X 70 cm)



This series IMPROVISATIONS had a process that was very creative and long at the same time. I was making a sample of a ligament, its weaving was complex and playing with different wefts and colors I realized that it had many possibilities. So I started with an idea to make a wall hanging, without any sketches nor any previous ideas just see what would emerge from there on. It would be absolutely improvised, even the use of colors wasn’t thought of. When I started there were only rectangular shapes and through working on them rhombuses and more shapes were emerging.


The fiber used in this whole series is linen, I liked the ecru and the shades of green, red and terracotta and to hold them altogether, black. The use of neutral colors was at the beginning, colors slowly were being introduced. There came out 8 wallhanging in the series.


One little detail, would it be better if they would be all together as one piece in the photograph. Seeing them individually I miss the complexity in which they were birthed. They are from one single matrix. Just a thought, thank you for everything, have a nice day.





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GUACOLDA
Lives in France



Autoportrait 1
2022
40 x 32 in
(101.6 x 81.2 cm)



Each work by Guacolda creates strange pairings between drawing (and sometimes writing) and matter. The textile proposes shifts and penetrations, offering augural discordances to another vision of the world. The feminine is reclaimed by the creator, while the depth of the subject matter does not eliminate a certain lightness of form. The play of matter is the source of a gap but increases the presence of certain lively silhouettes leaning against the silence. A breath always exists regardless of the technique chosen by the creator. From textile to drawing, the artist re-enchants the world, freeing it from its masculine glaciation, according to an eroticism where sensitivity recalls the first emotions.


The space is mental but not only. The artist becomes a poetess in a place where interior and exterior become a unique place, a passage where time is no longer the guardian. Most often, Guacolda suggests freshness and joy, but also gravity and depth. Suggestion remains the key word of work attentive to voluptuousness and a paradoxical precision that is not necessarily grasped at first glance. Offering and addressing, the image remains in an essential state through matter. The creator brings it back to the forefront to suggest what nourishes the being from its earliest ages and what makes the woman the primitive of the future.


And if the image becomes a memory, it is not that of the past but of an unceasing future. - Jean-Paul Gavard-Perret



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GUACOLDA
Lives in France



Autoportrait
2022
30 x 38 in
(74 x 94 cm)



Each work by Guacolda creates strange pairings between drawing (and sometimes writing) and matter. The textile proposes shifts and penetrations, offering augural discordances to another vision of the world. The feminine is reclaimed by the creator, while the depth of the subject matter does not eliminate a certain lightness of form. The play of matter is the source of a gap but increases the presence of certain lively silhouettes leaning against the silence. A breath always exists regardless of the technique chosen by the creator. From textile to drawing, the artist re-enchants the world, freeing it from its masculine glaciation, according to an eroticism where sensitivity recalls the first emotions.


The space is mental but not only. The artist becomes a poetess in a place where interior and exterior become a unique place, a passage where time is no longer the guardian. Most often, Guacolda suggests freshness and joy, but also gravity and depth. Suggestion remains the key word of work attentive to voluptuousness and a paradoxical precision that is not necessarily grasped at first glance. Offering and addressing, the image remains in an essential state through matter. The creator brings it back to the forefront to suggest what nourishes the being from its earliest ages and what makes the woman the primitive of the future.


And if the image becomes a memory, it is not that of the past but of an unceasing future. - Jean-Paul Gavard-Perret



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HELENA WADSLEY
Lives in Canada



Abisko Shadows
2023
47.2 x 39.3 in
(120 x 100 cm)



Responding to the body as a site of feelings is Helena Wadsley’s consistent starting point. Slow, repetitive processes such as weaving, knitting, and embroidery give space for contemplation, bridging any separation between mind and body. The body’s multifarious positioning as political and social loci as it travels across space and time is the primary site of research—how have our bodies been acted upon politically, and how do we navigate the unspoken language of our bodies’ reactions.


Embracing the skills typically passed down through generations prompts a reconstruction of the definitions of inheritance and identity. Understanding ourselves, where we came from, and where we are now is fundamental to having agency—within oneself and in the wider world of inequalities. Much of Wadsley’s work involves an examination of gender and identity, while she is interested in understanding experiences that cannot find adequate expression through language. This slippage can find a framework in affect theory, which acknowledges the possibility of knowledge through the body.


She tailors the materials and techniques to the project rather than repeating techniques, forms, or aesthetics with which she is familiar. This means that she is constantly learning new approaches, often pushing the limits of a material’s capabilities with each work.



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HELENA WADSLEY
Lives in Canada



Glacial Scrape
2023
96 x 108.1 x 27.9 in
(244 X 275 X 71 cm)



Responding to the body as a site of feelings is Helena Wadsley’s consistent starting point. Slow, repetitive processes such as weaving, knitting, and embroidery give space for contemplation, bridging any separation between mind and body. The body’s multifarious positioning as political and social loci as it travels across space and time is the primary site of research—how have our bodies been acted upon politically, and how do we navigate the unspoken language of our bodies’ reactions.


Embracing the skills typically passed down through generations prompts a reconstruction of the definitions of inheritance and identity. Understanding ourselves, where we came from, and where we are now is fundamental to having agency—within oneself and in the wider world of inequalities. Much of Wadsley’s work involves an examination of gender and identity, while she is interested in understanding experiences that cannot find adequate expression through language. This slippage can find a framework in affect theory, which acknowledges the possibility of knowledge through the body.


She tailors the materials and techniques to the project rather than repeating techniques, forms, or aesthetics with which she is familiar. This means that she is constantly learning new approaches, often pushing the limits of a material’s capabilities with each work.





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HENRIQUE VAN PUTTEN
Lives in The Netherlands



How lvong
2023
15.5 x 15.5 x 15.5 in
(39.3 x 39.3 x 39.3 cm)



Henrique van Putten makes mixed media sculptures, always with textile as a basis, tapestries and drawings (she likes to draw and consciously starts with this to develop artworks). Characteristic of her work is its narrative and associative character, and its composition of figurative, colorful visual elements. Animal figures are central to this, and like modern-day fable animals, they tell stories about human emotions, behavior, and the contradictions we experience in the world and within ourselves, and how we deal with them as humans. Her works express experiences about holding on and letting go, fear and surrender, certainty and doubt, dissatisfaction and harmony.


Her animals and fantasy creations express these human feelings and give the sometimes difficult reality something endearing and bearable. Van Putten derives her inner inspiration from how she, as a human being, should relate to God as the source of hope, love, and life.


Her attempts to be in a relationship with God highlight human fallibility, “La condition humaine,” taking center stage. Man is a finite being and is defined by his or her shortcomings. The different works portray the various aspects of this fallibility: fear of others, the impossibility of being together, death, loneliness, and the subsequent impotence. This results in ambivalence: a simultaneous hope and inevitable failure.



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HENRIQUE VAN PUTTEN
Lives in The Netherlands



Let’s give them what they want
2024
14 x 9.5 x 5.5 in
(35.5 X 24.1 X 13.9 cm)



Henrique van Putten makes mixed media sculptures, always with textile as a basis, tapestries and drawings (she likes to draw and consciously starts with this to develop artworks). Characteristic of her work is its narrative and associative character, and its composition of figurative, colorful visual elements. Animal figures are central to this, and like modern-day fable animals, they tell stories about human emotions, behavior, and the contradictions we experience in the world and within ourselves, and how we deal with them as humans. Her works express experiences about holding on and letting go, fear and surrender, certainty and doubt, dissatisfaction and harmony.


Her animals and fantasy creations express these human feelings and give the sometimes difficult reality something endearing and bearable. Van Putten derives her inner inspiration from how she, as a human being, should relate to God as the source of hope, love, and life.


Her attempts to be in a relationship with God highlight human fallibility, “La condition humaine,” taking center stage. Man is a finite being and is defined by his or her shortcomings. The different works portray the various aspects of this fallibility: fear of others, the impossibility of being together, death, loneliness, and the subsequent impotence. This results in ambivalence: a simultaneous hope and inevitable failure.



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INGER ODGAARD
Lives in Denmark



New Skin #16
2022
90 x 51 x 79 in
(228.6 x 129.5 x 200.6 cm)



Inger is a sculptor, and her medium is textile. Her sculptures are hand-knitted using various textile materials, knitted forms where the yarn and stitches create a transparency of threads and spaces. The knitted skeleton is transformed through the addition of different materials and the addition of new layers. The final shape of the sculpture is formed in the interaction between the sculpture and the baths of materials it is dipped in. These baths transform the sculpture from a fragile and predictable-looking knit to a robust and abstract figure.


The work is a long dialogue with each sculpture, a long process where Inger works on the sculpture’s form. Each time a new material is added, the sculpture’s appearance changes, and it alters the work’s form and structure. The transparency of the sculpture changes, some holes in the knit are closed by the material, and others remain open. The transformation that takes place captivates her. The change from one thing to another. From one place to another. When some holes remain open and others are closed, it alters the sculpture’s form and the shadow it creates.


The space within the sculpture changes, and the view into the sculpture becomes different. All her works are spatial and transparent sculptures, consisting of holes, spaces, and in-betweens that allow the viewer to peer into and through her sculptures.



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INGER ODGAARD
Lives in Denmark



New Skin #7
2022
81 x 21 x 14 in
(205.7 x 53.3 x 35.5 cm)



Inger is a sculptor, and her medium is textile. Her sculptures are hand-knitted using various textile materials, knitted forms where the yarn and stitches create a transparency of threads and spaces. The knitted skeleton is transformed through the addition of different materials and the addition of new layers. The final shape of the sculpture is formed in the interaction between the sculpture and the baths of materials it is dipped in. These baths transform the sculpture from a fragile and predictable-looking knit to a robust and abstract figure.


The work is a long dialogue with each sculpture, a long process where Inger works on the sculpture’s form. Each time a new material is added, the sculpture’s appearance changes, and it alters the work’s form and structure. The transparency of the sculpture changes, some holes in the knit are closed by the material, and others remain open. The transformation that takes place captivates her. The change from one thing to another. From one place to another. When some holes remain open and others are closed, it alters the sculpture’s form and the shadow it creates.


The space within the sculpture changes, and the view into the sculpture becomes different. All her works are spatial and transparent sculptures, consisting of holes, spaces, and in-betweens that allow the viewer to peer into and through her sculptures.



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IRA RZ
Lives in Bulgaria



Calm Before the Storm
2023
17.3 x 12.9 x 4.7 in
(44 x 33 x 12 cm)



Calm Before the Storm - Soft Sculpture
December 2023


This tender textile sculpture is meticulously crafted through the interweaving of crocheted elements of varied sizes and textures. The resulting object becomes a tangible embodiment of the emotional undercurrents associated with a sense of impending uncertainty, encapsulating the delicate balance between anticipation and anxiety.


This artwork delves into the complexities of future uncertainties, offering a manifestation of the nervous energy that arises when facing the unknown. It serves as a contemplative exploration of the intricate interplay between the unease of what lies ahead and the inherent privilege of having the time to engage in leisurely creative pursuits.


By highlighting the fragility of time and acknowledging the privilege embedded in the act of crafting art amid the intricacies of our world, the sculpture prompts viewers to reflect on the preciousness of each passing moment. It encourages a mindful appreciation of the present, urging spectators to cherish every instant while recognizing the swift and unpredictable nature of life’s transformative journey. “Calm Before the Storm” thus becomes a visual and tactile ode to the impermanence of time, inviting introspection on the profound significance of each fleeting experience.



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ITAMAR YEHIEL
Lives in Germany



Pebble with Lichen
2023
12.5 x 9 x 2 in
(31.7 X 22.8 X 5 cm)



Embroidery is a global and ancient craft that has always served as a platform for storytelling. Women, who had no other form of expression, brought their cultural and personal stories to fabrics using only needle and thread. For a decade, Itamar explored different continents and countries and was always fascinated by local and traditional crafts. He combines thousands of years of embroidery tradition with innovative ideas and techniques, most of which he developed himself.


With his three-dimensional, philosophical, and emotional interpretations of organic objects, Itamar strives to release this expressive craft from the restraints of two-dimensional fabric, give it volume, and offer a contemporary voice. His method reintroduces embroidery as fine art and embodies both innovation and tradition. By using carefully thought-out framing and creating an illusion of hovering, he amplifies the tension between the traditional craft and his contemporary creations.


In his work, Itamar explores paradoxes and philosophical ideas. The tension between realism and illusion, organic and artificial, temporary and eternal, are all part of his artistic expression. These come to life through objects from nature. Just like embroidery, nature is a global language. It relates to all individuals and cultures, therefore allowing his work to be intricate, profound, accessible, and deeply personal at the same time. He utilizes the vast variety of objects, colors, shapes, and textures found in nature as vocabulary to tell new stories, both personal and global, cultural and emotional.





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ITAMAR YEHIEL
Lives in Germany



Stick with Moss and Mushrooms
2023
14 x 11.5 x 2 in
(35.5 x 29.2 x 5 cm)



Embroidery is a global and ancient craft that has always served as a platform for storytelling. Women, who had no other form of expression, brought their cultural and personal stories to fabrics using only needle and thread. For a decade, Itamar explored different continents and countries and was always fascinated by local and traditional crafts. He combines thousands of years of embroidery tradition with innovative ideas and techniques, most of which he developed himself.


With his three-dimensional, philosophical, and emotional interpretations of organic objects, Itamar strives to release this expressive craft from the restraints of two-dimensional fabric, give it volume, and offer a contemporary voice. His method reintroduces embroidery as fine art and embodies both innovation and tradition. By using carefully thought-out framing and creating an illusion of hovering, he amplifies the tension between the traditional craft and his contemporary creations.


In his work, Itamar explores paradoxes and philosophical ideas. The tension between realism and illusion, organic and artificial, temporary and eternal, are all part of his artistic expression. These come to life through objects from nature. Just like embroidery, nature is a global language. It relates to all individuals and cultures, therefore allowing his work to be intricate, profound, accessible, and deeply personal at the same time. He utilizes the vast variety of objects, colors, shapes, and textures found in nature as vocabulary to tell new stories, both personal and global, cultural and emotional.



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JAY LEE
Lives in South Korea



Jacaranda Dreams
2023
107.8 x 406.4 in
(274 x 160 cm)



Jay Lee, a nomadic artist from Seoul, South Korea, uses her art to delve into self-discovery, intertwining dreams and emotions with nature and landscapes. Her artistic journey is marked by the exploration of diverse materials and forms, reflecting her evolving perception of space and identity. Art has been a transformative force for Jay, helping her navigate significant life transitions such as early motherhood and migration. It has also been a tool to challenge and break free from societal norms. Her nomadic life informs her view on permanence, encouraging constant reinvention and embracing change.


Jay’s diverse use of materials, including acrylics, natural pigments, ceramics, papers, and fabrics, alongside found objects, reflects her interaction with various environments. Each piece she creates is a dialogue with the spaces and people she encounters, translating these experiences into her artistic language. Nature plays a crucial role in her work, with elements like stones, flowers, and plants symbolizing connectivity and life’s cycles. Jay’s art is characterized by a blend of imagination and playfulness, underpinned by a commitment to experimentation and spontaneity.


This approach results in a dynamic body of work that captures her journey as an artist constantly in motion, seeking new perspectives and ways of expression.



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JAY LEE
Lives in South Korea



Journey
2023
98.4 x 4.92 ft
(30 x 1.5 m)



Jay Lee, a nomadic artist from Seoul, South Korea, uses her art to delve into self-discovery, intertwining dreams and emotions with nature and landscapes. Her artistic journey is marked by the exploration of diverse materials and forms, reflecting her evolving perception of space and identity. Art has been a transformative force for Jay, helping her navigate significant life transitions such as early motherhood and migration. It has also been a tool to challenge and break free from societal norms. Her nomadic life informs her view on permanence, encouraging constant reinvention and embracing change.


Jay’s diverse use of materials, including acrylics, natural pigments, ceramics, papers, and fabrics, alongside found objects, reflects her interaction with various environments. Each piece she creates is a dialogue with the spaces and people she encounters, translating these experiences into her artistic language. Nature plays a crucial role in her work, with elements like stones, flowers, and plants symbolizing connectivity and life’s cycles. Jay’s art is characterized by a blend of imagination and playfulness, underpinned by a commitment to experimentation and spontaneity.


This approach results in a dynamic body of work that captures her journey as an artist constantly in motion, seeking new perspectives and ways of expression.



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JENNA MANZANO
Lives in the USA



Contain
2022
10 x 7 x 2 in
(25.4 x 17.7 x 5 cm)



Jenna Manzano is a multidisciplinary artist making sculpture, assemblage, and drawings in fiber, paper, found objects, and pigment. Monochromatic texture and repetition, both in the process of making and in the visual result, unify her work across disciplines. Her primary body of work, woven and wrapped fiber sculpture, most frequently uses the natural greyish-beige tone and slubby texture of raw linen.


Using these readily-accessible and familiar materials, she pulls inspiration from the postminimalist sculptural object. The postminimal shift to pliable, organically shaped mediums was in reaction to the clean and manufactured lines of minimalism. Likewise, Jenna returns to the incredibly slowly made and imperfect three-dimensional object in rejection of the high-definition screens, filters, and nonstop noise of our oversaturated digital lives. She looks to Eva Hesse, Franz Erhard Walther, Robert Morris, and the early work of Richard Serra for models of the human touch within an otherwise non-figurative format.


The labor-intensive process of hand-making invites silence, stillness, and introspection in both process and result. The non-figurative work relies on scale, form, and repetition to invite a deeper connection to attention, emotion, and awareness. Jenna’s larger sculptural work maintains a vaguely human proportion and scale, confronting the viewer with inevitable similarities between the work and the viewer themselves in the amount of space they inhabit.



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JENNA MANZANO
Lives in the USA



Fracture
2022
48 x 8 x 3 in
(121.9 x 20.3 x 7.6 cm)



Jenna Manzano is a multidisciplinary artist making sculpture, assemblage, and drawings in fiber, paper, found objects, and pigment. Monochromatic texture and repetition, both in the process of making and in the visual result, unify her work across disciplines. Her primary body of work, woven and wrapped fiber sculpture, most frequently uses the natural greyish-beige tone and slubby texture of raw linen.


Using these readily-accessible and familiar materials, she pulls inspiration from the postminimalist sculptural object. The postminimal shift to pliable, organically shaped mediums was in reaction to the clean and manufactured lines of minimalism. Likewise, Jenna returns to the incredibly slowly made and imperfect three-dimensional object in rejection of the high-definition screens, filters, and nonstop noise of our oversaturated digital lives. She looks to Eva Hesse, Franz Erhard Walther, Robert Morris, and the early work of Richard Serra for models of the human touch within an otherwise non-figurative format.


The labor-intensive process of hand-making invites silence, stillness, and introspection in both process and result. The non-figurative work relies on scale, form, and repetition to invite a deeper connection to attention, emotion, and awareness. Jenna’s larger sculptural work maintains a vaguely human proportion and scale, confronting the viewer with inevitable similarities between the work and the viewer themselves in the amount of space they inhabit.



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JOEDY MARINS
Lives in Brazil



BrachiariaII
2022
12 x 12 x 2 in
(30.4 x 30.4 x 5 cm)



Her poetics prioritize the power and delicacy of textile production, understanding it as a way to perceive and interpret the essence of the world we live in. Her interest lies in the fabric of nature and the search for the appreciation of handmade work, which is so present in the sustainability of life itself. The grace of existence and the perception of intimacy turn a place into an affective space.


She works with natural and reused materials in these traditional techniques that transcend artistic languages. Thus, from knitting, crochet, embroidery, sewing, tapestry, memory records, and feminine records, arise assemblages, art installations, photos, sculptures, drawings, in hybrid interpretations of Creation, emphasizing the humanist geography in opposition to the erasure of memory. The fabric was inserted into her poetry in 1994, and drawing began to be made with scraps, scissors, thread, and needle.


The presence of the seam in childhood was observed as an understanding of doing, a constitutive process prior to the school literacy phase. In this experience of plasticity, we find not only a certain materiality but also the modus operandi that reinvents itself by recognizing in poetics the identity of the creator, the interpretation of what he is, of his being in the world.



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JOEDY MARINS
Lives in Brazil



Derml
2022
4 x 4 x 6 in
(10.1 x 10.1 x 12.7 cm)



Her poetics prioritize the power and delicacy of textile production, understanding it as a way to perceive and interpret the essence of the world we live in. Her interest lies in the fabric of nature and the search for the appreciation of handmade work, which is so present in the sustainability of life itself. The grace of existence and the perception of intimacy turn a place into an affective space.


She works with natural and reused materials in these traditional techniques that transcend artistic languages. Thus, from knitting, crochet, embroidery, sewing, tapestry, memory records, and feminine records, arise assemblages, art installations, photos, sculptures, drawings, in hybrid interpretations of Creation, emphasizing the humanist geography in opposition to the erasure of memory. The fabric was inserted into her poetry in 1994, and drawing began to be made with scraps, scissors, thread, and needle.


The presence of the seam in childhood was observed as an understanding of doing, a constitutive process prior to the school literacy phase. In this experience of plasticity, we find not only a certain materiality but also the modus operandi that reinvents itself by recognizing in poetics the identity of the creator, the interpretation of what he is, of his being in the world.



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JOEDY MARINS
Lives in Brazil



Untitled
2023
15 x 15 x 1.9 in
(38.1 x 38.1 x 4.8 cm)



Her poetics prioritize the power and delicacy of textile production, understanding it as a way to perceive and interpret the essence of the world we live in. Her interest lies in the fabric of nature and the search for the appreciation of handmade work, which is so present in the sustainability of life itself. The grace of existence and the perception of intimacy turn a place into an affective space.


She works with natural and reused materials in these traditional techniques that transcend artistic languages. Thus, from knitting, crochet, embroidery, sewing, tapestry, memory records, and feminine records, arise assemblages, art installations, photos, sculptures, drawings, in hybrid interpretations of Creation, emphasizing the humanist geography in opposition to the erasure of memory. The fabric was inserted into her poetry in 1994, and drawing began to be made with scraps, scissors, thread, and needle.


The presence of the seam in childhood was observed as an understanding of doing, a constitutive process prior to the school literacy phase. In this experience of plasticity, we find not only a certain materiality but also the modus operandi that reinvents itself by recognizing in poetics the identity of the creator, the interpretation of what he is, of his being in the world.



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KARINA WALTER
Lives in the USA



All Feelings Are Gut Feelings
2024
20 x 6.5 x 6.5 in
(50.8 x 16.5 x 16.5 cm)



Karina Walter is a Brazilian multidisciplinary artist and she hovers between two-dimensional and three-dimensional works and explores a variety of techniques, including photography, collage, assemblage, installation, and sculpture.


She found herself labeled as ‘ama del lar’ (housewife in Spanish) when she moved to Spain, after ending her corporate career and joining her husband in his international opportunity. This is a convenient term - housewife. She realized that the system made its own assumptions. Thus, she became interested in the unfolding of patriarchal discourse: the naturalization of gender roles, how it curtails women’s lives, and the historical layers which accumulate in their bodies as a consequence. And she feels women don’t know their bodies beyond this discourse. Whether accepted or overlooked, the artist believes domestication begins when they are given their first doll, and as she finds it impossible to be shed from their skin, it is essential for her to understand why women do what they have been doing since they got their first doll. Confined to the household and, consequently, to the family, women were historically designed to private spaces.


In her work, she leverages the symbolic significance of the house as a place of women’s resignation. Subversively, she gathers and reuses ordinary, non-artistic materials that stem from the maintenance of the body and household routines, as well as feminine-related objects. Body and house are intertwined, and this relation is her germinal soil to create her pieces that address women’s roles in Western culture, giving form and space to some of these restless questions.



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KARINA WALTER
Lives in the USA



Experiences As a Body
2024
21 x 8.5 x 3.5 in
(53.3 x 21.5 x 8.8 cm)



Karina Walter is a Brazilian multidisciplinary artist and she hovers between two-dimensional and three-dimensional works and explores a variety of techniques, including photography, collage, assemblage, installation, and sculpture.


She found herself labeled as ‘ama del lar’ (housewife in Spanish) when she moved to Spain, after ending her corporate career and joining her husband in his international opportunity. This is a convenient term - housewife. She realized that the system made its own assumptions. Thus, she became interested in the unfolding of patriarchal discourse: the naturalization of gender roles, how it curtails women’s lives, and the historical layers which accumulate in their bodies as a consequence. And she feels women don’t know their bodies beyond this discourse. Whether accepted or overlooked, the artist believes domestication begins when they are given their first doll, and as she finds it impossible to be shed from their skin, it is essential for her to understand why women do what they have been doing since they got their first doll. Confined to the household and, consequently, to the family, women were historically designed to private spaces.


In her work, she leverages the symbolic significance of the house as a place of women’s resignation. Subversively, she gathers and reuses ordinary, non-artistic materials that stem from the maintenance of the body and household routines, as well as feminine-related objects. Body and house are intertwined, and this relation is her germinal soil to create her pieces that address women’s roles in Western culture, giving form and space to some of these restless questions.



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KARINA WALTER
Lives in the USA



Freedom Demands Too Much Effort
2023
31 x 8 x 8 in
(78.7 x 20.3 x 20.3 cm)



Karina Walter is a Brazilian multidisciplinary artist and she hovers between two-dimensional and three-dimensional works and explores a variety of techniques, including photography, collage, assemblage, installation, and sculpture.


She found herself labeled as ‘ama del lar’ (housewife in Spanish) when she moved to Spain, after ending her corporate career and joining her husband in his international opportunity. This is a convenient term - housewife. She realized that the system made its own assumptions. Thus, she became interested in the unfolding of patriarchal discourse: the naturalization of gender roles, how it curtails women’s lives, and the historical layers which accumulate in their bodies as a consequence. And she feels women don’t know their bodies beyond this discourse. Whether accepted or overlooked, the artist believes domestication begins when they are given their first doll, and as she finds it impossible to be shed from their skin, it is essential for her to understand why women do what they have been doing since they got their first doll. Confined to the household and, consequently, to the family, women were historically designed to private spaces.


In her work, she leverages the symbolic significance of the house as a place of women’s resignation. Subversively, she gathers and reuses ordinary, non-artistic materials that stem from the maintenance of the body and household routines, as well as feminine-related objects. Body and house are intertwined, and this relation is her germinal soil to create her pieces that address women’s roles in Western culture, giving form and space to some of these restless questions.



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KATE V M SYLVESTER
Lives in Australia



CDC T-shirt
2024
1’55”



Sylvester has developed a unique textile practice that uses the t-shirt as a ready-made art object. Meticulously de-threaded by hand, each garment is deconstructed to reveal the masses of material used to form a single item of clothing. The t-shirt, globally recognizable and iconic, represents our commodity fetishism through self-branding, utilized as a marketing tool, and worn as an activation of social and political reference, its use evolving within our society.


By deconstructing the garment, Sylvester enables a new perspective on this mass-produced fast fashion item. Void of its utilitarian function as undergarment, the t-shirt is elevated into the realm of conceptual art. The weave of warp and weft is seemingly ethereal, yet the construction can withstand extreme manipulation. Morphed into extraordinary installations, sculpture, performance, video, and painting, Sylvester investigates the potential of every thread within the weave. This transformation allows a new perspective on our clothing and the items we take for granted, considering the universal structures that bind the materials within our environment.


Influenced by Deleuze and the fold, Sylvester navigates the metaphysical bonds that envelop our existence within the pleats of matter and the folds of time.



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KATE V M SYLVESTER
Lives in Australia



Fluro Teede-thread
2024
1’55”



Sylvester has developed a unique textile practice that uses the t-shirt as a ready-made art object. Meticulously de-threaded by hand, each garment is deconstructed to reveal the masses of material used to form a single item of clothing. The t-shirt, globally recognizable and iconic, represents our commodity fetishism through self-branding, utilized as a marketing tool, and worn as an activation of social and political reference, its use evolving within our society.


By deconstructing the garment, Sylvester enables a new perspective on this mass-produced fast fashion item. Void of its utilitarian function as undergarment, the t-shirt is elevated into the realm of conceptual art. The weave of warp and weft is seemingly ethereal, yet the construction can withstand extreme manipulation. Morphed into extraordinary installations, sculpture, performance, video, and painting, Sylvester investigates the potential of every thread within the weave. This transformation allows a new perspective on our clothing and the items we take for granted, considering the universal structures that bind the materials within our environment.


Influenced by Deleuze and the fold, Sylvester navigates the metaphysical bonds that envelop our existence within the pleats of matter and the folds of time.



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KATHARINA GAHLERT
Lives in Germany



Body of Land
2021
94.5 x 46 in
(240 x 116.8 cm)



Katharina Gahlert’s works narrate themes of fragility and vulnerability, seamlessly merging disparate structures into new units of meaning. She transforms soft textiles into rock formations and crafts objects of intimate corporeality using found materials, addressing the often disrupted relationship between the human body and nature. Inspired by the complex interplay between human and non-human matter, Gahlert investigates the interfaces between body and landscape. She views the landscape not only as a subjective frame of reference, filled with imaginations and human longings but also as a mirror reflecting societal values.


Her artistic practice, deeply rooted in textile arts, has increasingly ventured into three-dimensional space in recent years. This shift has led to the creation of body-related objects and expansive installations that visually explore the essence and diverse expressions of the human-nature relationship. Through a play of form and formlessness, she delves into the depths of landscape and probes various aspects of physicality—body, consciousness, emotion, memory—intertwined and inseparable. Transformed familiar forms evoke memories, suggesting deep-seated images. Gahlert’s language of form reveals a quest for emotional states, playing with associations to familiar structures, stone surfaces, skin, and archetypal patterns.


Thus, the body becomes an interface between the self and its environment, a link between felt alienation and the longing for connection, emphasizing the importance of understanding our place within the natural world and our interactions with it.



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KATHARINA GAHLERT
Lives in Germany



Contact Fields
2023


Left Artwork:
27.6 x 19.7 in
(70.1 x 44.9 cm)


Center Artwork:
82.7 x 63 in
(210 x 160 cm)


Right Artwork:
23.6 x 17.7 in
(59.9 x 44.9 cm)



Katharina Gahlert’s works narrate themes of fragility and vulnerability, seamlessly merging disparate structures into new units of meaning. She transforms soft textiles into rock formations and crafts objects of intimate corporeality using found materials, addressing the often disrupted relationship between the human body and nature. Inspired by the complex interplay between human and non-human matter, Gahlert investigates the interfaces between body and landscape. She views the landscape not only as a subjective frame of reference, filled with imaginations and human longings but also as a mirror reflecting societal values.


Her artistic practice, deeply rooted in textile arts, has increasingly ventured into three-dimensional space in recent years. This shift has led to the creation of body-related objects and expansive installations that visually explore the essence and diverse expressions of the human-nature relationship. Through a play of form and formlessness, she delves into the depths of landscape and probes various aspects of physicality—body, consciousness, emotion, memory—intertwined and inseparable. Transformed familiar forms evoke memories, suggesting deep-seated images. Gahlert’s language of form reveals a quest for emotional states, playing with associations to familiar structures, stone surfaces, skin, and archetypal patterns.


Thus, the body becomes an interface between the self and its environment, a link between felt alienation and the longing for connection, emphasizing the importance of understanding our place within the natural world and our interactions with it.



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KATHARINA KRENKEL
Lives in Germany


Big Drop
2023
39.7 x 39.7 x 157.4 in
(100 x 100 x 400 cm)


Katharina Krenkel calls herself a Soft Sculptor. She has been crocheting fiber sculptures for almost 30 years, depicting themes from her daily life. She uses a hook and yarn like a classical sculptor uses clay, marble, or wood. One could say that crocheting is an additive construction process, but with the difference that the crocheted sculptures are never hard and stiff, conveying a completely different story. They lack the comparisons of art history in the background but rather evoke memories of handicraft from their female ancestors and everyday culture.


In addition to creating living sculptures and crochet performances, she is a silent and diligent working creatoress. The main actors in her work are huge lace doilies, 50-meter scarves, lace borders, flames crocheted from barrier tape, and small ingredients for arranged still lifes. Katharina Krenkel invents fluffy projects that involve and intervene in the not-always-so-cuddly everyday life.


Currently, she is working on a transformation project. She utilizes the fact that crocheted items can always be unraveled. The main role is played by a huge ball of wool that constantly changes into a sculpture. This sculpture only exists for a short time until it is unraveled again. Thus, in the end, art exists only in the yarn ball and in people’s heads and minds. In the worst-case scenario, the wool can be used to make a warm sweater.


CREDITS: Photos and texts by the artist.






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KATHERINE DANIELS
Lives in the USA



Orient
2023
72 x 72 x 3 in
(182.8 x 182.8 x 7.6 cm)



Leaning into my Appalachian roots and formal training as a painter, I create tactile objects that employ beading, weaving, and sewing techniques. I utilize the colors and shapes of the materials to build abstractions that convey a sense of momentum, direction, and presence. Using textiles as a medium is a visual language that I learned as a child in West Virginia, where my mother sewed, needlepointed, and knit clothing and home goods. This heritage of needlecraft was a cornerstone of my artistic education.


In my studio, my work evolved from painting to sculpture and textiles when I started adding sewing and beading, ultimately removing paint entirely. The physicality of touch in needlework and the push and pull of weaving techniques engage the haptic, optic, and conceptual qualities of sculpture. Beads serve as building blocks in my sculptures; flexible plastic fence weave works as a colored line, and chain-link fencing serves as a diagonal grid in my site-specific installations; ribbons are used as a tangible means of “drawing with fabric.” Whatever the medium, I perceive the colors and forms that work their way through the art as paths.


I aim to draw the viewer into and guide them along these paths. In this body of work, my exploration of beauty, pleasure, and harmony in each composition is analogous to seeking grace, satisfaction, and balance in one’s life.



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KATHERINE DANIELS
Lives in the USA



Poise
2019
48 x 48 x 3 in
(121.9 x 121.9 x 7.2 cm)



Leaning into my Appalachian roots and formal training as a painter, I create tactile objects that employ beading, weaving, and sewing techniques. I utilize the colors and shapes of the materials to build abstractions that convey a sense of momentum, direction, and presence. Using textiles as a medium is a visual language that I learned as a child in West Virginia, where my mother sewed, needlepointed, and knit clothing and home goods. This heritage of needlecraft was a cornerstone of my artistic education.


In my studio, my work evolved from painting to sculpture and textiles when I started adding sewing and beading, ultimately removing paint entirely. The physicality of touch in needlework and the push and pull of weaving techniques engage the haptic, optic, and conceptual qualities of sculpture. Beads serve as building blocks in my sculptures; flexible plastic fence weave works as a colored line, and chain-link fencing serves as a diagonal grid in my site-specific installations; ribbons are used as a tangible means of “drawing with fabric.” Whatever the medium, I perceive the colors and forms that work their way through the art as paths.


I aim to draw the viewer into and guide them along these paths. In this body of work, my exploration of beauty, pleasure, and harmony in each composition is analogous to seeking grace, satisfaction, and balance in one’s life.



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KATHY LANDVOGT
Lives in Australia



Sanctum
2022
4 x 5 x 5 in
(10.1 x 12.7 x 12.7 cm)



In her perennial search for materials and techniques that best express both emotional realities and contemporary cultural forces, Kathy Landvogt has situated her work within the age-old tradition of stitching, yet uses a specific method developed in the 1970s. She knits fine-gauged colored copper wire to create a smooth wire ‘fabric’. The resulting works are delicate but strong enough to hold clear form. Wire is malleable yet resistant, can both absorb and reflect light, and is used for both decoration and function. Knitted wire is also reminiscent of lace, where the spaces between are as important to the fabric’s character as the stitches themselves.


By developing methods of shaping, layering, and joining this wire fabric, Kathy has extended its characteristics to evoke cell-like, visceral, and organic formations. This work is part of a body of work titled ‘The Salpinx Collection’. Kathy’s subject here is the inner female reproductive organs, reimagined to explore the profound purposes and hidden troubles they hold. A ‘salpinx’ is a trumpet-shaped tube and is another term for the Fallopian tube connecting womb and ovary. The richly colored works describe intricate vessel forms with curves, scalloped edges, and hidden layers, yet held up to the light they are almost transparent.


For Kathy, combining the toughness of wire with this gauze-like fabrication mirrors the tensions, contradictions, and silences of female experience.



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KATHY LANDVOGT
Lives in Australia



Septum
2022
4.7 x 5 x 4 in
(11.9 x 12.7 x 10.1 cm)



In her perennial search for materials and techniques that best express both emotional realities and contemporary cultural forces, Kathy Landvogt has situated her work within the age-old tradition of stitching, yet uses a specific method developed in the 1970s. She knits fine-gauged colored copper wire to create a smooth wire ‘fabric’. The resulting works are delicate but strong enough to hold clear form. Wire is malleable yet resistant, can both absorb and reflect light, and is used for both decoration and function. Knitted wire is also reminiscent of lace, where the spaces between are as important to the fabric’s character as the stitches themselves.


By developing methods of shaping, layering, and joining this wire fabric, Kathy has extended its characteristics to evoke cell-like, visceral, and organic formations. This work is part of a body of work titled ‘The Salpinx Collection’. Kathy’s subject here is the inner female reproductive organs, reimagined to explore the profound purposes and hidden troubles they hold. A ‘salpinx’ is a trumpet-shaped tube and is another term for the Fallopian tube connecting womb and ovary. The richly colored works describe intricate vessel forms with curves, scalloped edges, and hidden layers, yet held up to the light they are almost transparent.


For Kathy, combining the toughness of wire with this gauze-like fabrication mirrors the tensions, contradictions, and silences of female experience.



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KELLY LIMERICK
Lives in Singapore



100 film cutdown
2023
1’44”



Being mediums that are often linked to domestic folk art, crochet and knit have struggled to break their confines as a craft rather than art. A ‘sympathetic medium’ that exists in our daily lives, textile appeals with its tactility, harboring within its labor-intensive creation a sense of time and history. It is exactly this quality that, when used out of convention, proposes alternative perspectives by subverting the familiar.


By employing destruction or deconstruction as a secondary technique, I attempt to perturb the viewer as they witness a defenseless and fragile object fall apart, forcing them to confront emotions of loss and regret. My explorations question the binary nature of names, adjectives, and numbers, aiming to reframe biases by presenting the duality of these ideas. Destruction suggests an end; yet it could also represent rebirth. The soft nature of crochet could suggest weakness; yet it is strong and malleable compared to the brittle versions after I torch them.


It is often thought that time is money; yet it depends on whose time is in question. What is the thin line between ‘priceless’ and ‘worthless’? My artwork implores viewers to question their personal perceptions of value beyond the general consensus.



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KELLY LIMERICK
Lives in Singapore



Unbecoming-film
2022
2’59”



Being mediums that are often linked to domestic folk art, crochet and knit have struggled to break their confines as a craft rather than art. A ‘sympathetic medium’ that exists in our daily lives, textile appeals with its tactility, harboring within its labor-intensive creation a sense of time and history. It is exactly this quality that, when used out of convention, proposes alternative perspectives by subverting the familiar.


By employing destruction or deconstruction as a secondary technique, I attempt to perturb the viewer as they witness a defenseless and fragile object fall apart, forcing them to confront emotions of loss and regret. My explorations question the binary nature of names, adjectives, and numbers, aiming to reframe biases by presenting the duality of these ideas. Destruction suggests an end; yet it could also represent rebirth. The soft nature of crochet could suggest weakness; yet it is strong and malleable compared to the brittle versions after I torch them.


It is often thought that time is money; yet it depends on whose time is in question. What is the thin line between ‘priceless’ and ‘worthless’? My artwork implores viewers to question their personal perceptions of value beyond the general consensus.



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LEISA RICH
Lives in Canada



Father, Son and Holy Ghost
2021
66 x 80 x 3 in
(167.6 x 203.2 x 7.6 cm)



Leisa Rich’s creative journey began with a long-term childhood hospital stay and subsequent deafness - the resulting reliance on her other senses gave her clues to comprehend the world - a Barbie doll she dressed in clothing her mother made, and an enveloping weeping willow tree she played under as a child. Her quest to create a world of intriguing visual and tactile artworks that entice viewers’ senses, installation environments that provide a brief respite from the challenges of living today and recreate childhood experiences that made her feel safe, and interactive art, is shared with viewers. She is also driven by an innate hyper-tactility and manipulates materials and methods in highly experimental ways to realize this method of expression.


The textiles and fibers she uses to bring her ideas to fruition possess a historically significant power to tangibly and symbolically connect us. These materials have been woven into the very fabric of human history, representing protection and warmth, and are often ties that bind us together.


They have birthed finance, technology and sometimes, too, contribute to climate unsustainability. Rich has always incorporated repurposed materials into her works in a conscientious manner. Fibers transcend their utilitarian origins to become vessels of emotion and memory. They can be transformative and remind us of the beauty and strength found in our shared experiences. It is within these moments interacting with art that has purpose that we rediscover our connectivity and humanity.



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LEISA RICH
Lives in Canada



In Hot Pursuit
2022
88 X 68 X 1 in
(223.5 x 172.7 x 2.5 cm)



Leisa Rich’s creative journey began with a long-term childhood hospital stay and subsequent deafness - the resulting reliance on her other senses gave her clues to comprehend the world - a Barbie doll she dressed in clothing her mother made, and an enveloping weeping willow tree she played under as a child. Her quest to create a world of intriguing visual and tactile artworks that entice viewers’ senses, installation environments that provide a brief respite from the challenges of living today and recreate childhood experiences that made her feel safe, and interactive art, is shared with viewers. She is also driven by an innate hyper-tactility and manipulates materials and methods in highly experimental ways to realize this method of expression.


The textiles and fibers she uses to bring her ideas to fruition possess a historically significant power to tangibly and symbolically connect us. These materials have been woven into the very fabric of human history, representing protection and warmth, and are often ties that bind us together.


They have birthed finance, technology and sometimes, too, contribute to climate unsustainability. Rich has always incorporated repurposed materials into her works in a conscientious manner. Fibers transcend their utilitarian origins to become vessels of emotion and memory. They can be transformative and remind us of the beauty and strength found in our shared experiences. It is within these moments interacting with art that has purpose that we rediscover our connectivity and humanity.



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LENORE SOLMO
Lives in the USA



Plastic Garden Gold Tide
2023
9 x 8 x 7.5 in
(22.8 x 20.3 x 19 cm)



Mixed media artist Lenore Solmo believes that everything in the world is full of potential. As she moves through her day in her home city of Brooklyn, NY, Solmo can’t help but notice the possibility in objects that others might pass over as trash. Currently, her upcycled art and sculptures are made from found plastic bottles, and she uses a technique that utilizes heat. She sculpts, cuts, and pierces the bottles to create organic forms found in nature. The heat, when applied to the plastic, causes it to turn and flutter, echoing actual flowers and leaves.


Her years as a jewelry designer have left her with a fashion sensibility and an archive of vintage beads, which she utilizes in the sculptures, adding sparkle. She is drawn to metallic colors, being the opposite of nature, and introduces an added element of glamour.


Living and working in New York City provides an abundance of trash and a never-ending source of inspiration found on the streets of the city. She sometimes puts her trash needs and intention out into the universe and then finds exactly what is needed for the days of art-making adventures. A future goal is to travel to other cities, states, and countries, collecting and creating art pieces.



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LENORE SOLMO
Lives in the USA



Rose Gold Plastic Garden
2023
7 x 10 x 5 in
(17.7 x 25.4 x 12.7 cm)



Mixed media artist Lenore Solmo believes that everything in the world is full of potential. As she moves through her day in her home city of Brooklyn, NY, Solmo can’t help but notice the possibility in objects that others might pass over as trash. Currently, her upcycled art and sculptures are made from found plastic bottles, and she uses a technique that utilizes heat. She sculpts, cuts, and pierces the bottles to create organic forms found in nature. The heat, when applied to the plastic, causes it to turn and flutter, echoing actual flowers and leaves.


Her years as a jewelry designer have left her with a fashion sensibility and an archive of vintage beads, which she utilizes in the sculptures, adding sparkle. She is drawn to metallic colors, being the opposite of nature, and introduces an added element of glamour.


Living and working in New York City provides an abundance of trash and a never-ending source of inspiration found on the streets of the city. She sometimes puts her trash needs and intention out into the universe and then finds exactly what is needed for the days of art-making adventures. A future goal is to travel to other cities, states, and countries, collecting and creating art pieces.



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LINDA FRIEDMAN SCHMIDT
Lives in the USA



Distortion
2024
26 x 26 x 2 in
(66 x 66 x 5 cm)



Linda Friedman Schmidt juxtaposes discarded clothing with photography and found objects to create sustainable portraiture. She weaves together contemporary issues with personal narratives. She pushes the limits of textiles, techniques, and concepts, adding an experimental dimension to her artwork. Multiple techniques including hand cutting, hand sewing, hooking, collage, crochet, weaving, and sculpture are employed as she rethinks the possibilities and potentials of her materials.


Linda’s work captures the essence of what it means to be human at this time; it brings an emotional depth to textile art; it speaks with feelings. Her portraits are concerned with the vulnerability of cloth, threads, and people. She believes that being vulnerable exposes us to violence from others but at the same time opens us to the world and to our creativity. Openness makes transformation possible. It offers a chance to imagine a world in which violence might be minimized, a world in which our interdependence and common humanity are acknowledged.


Through deconstruction and reconstruction, destruction and mending, she transforms the old into new. Her process is a material expression of what is happening globally – the unraveling and alteration of the world as we knew it as we prepare to move on to something new.



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LINDA FRIEDMAN SCHMIDT
Lives in the USA



The Vulnerable Border
2023
30 x 20 x 5 in
(76.2 x 50.8 x 12.7 cm)



Linda Friedman Schmidt juxtaposes discarded clothing with photography and found objects to create sustainable portraiture. She weaves together contemporary issues with personal narratives. She pushes the limits of textiles, techniques, and concepts, adding an experimental dimension to her artwork. Multiple techniques including hand cutting, hand sewing, hooking, collage, crochet, weaving, and sculpture are employed as she rethinks the possibilities and potentials of her materials.


Linda’s work captures the essence of what it means to be human at this time; it brings an emotional depth to textile art; it speaks with feelings. Her portraits are concerned with the vulnerability of cloth, threads, and people. She believes that being vulnerable exposes us to violence from others but at the same time opens us to the world and to our creativity. Openness makes transformation possible. It offers a chance to imagine a world in which violence might be minimized, a world in which our interdependence and common humanity are acknowledged.


Through deconstruction and reconstruction, destruction and mending, she transforms the old into new. Her process is a material expression of what is happening globally – the unraveling and alteration of the world as we knew it as we prepare to move on to something new.



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LUBA ZYGAREWICZ
Lives in the USA



Gathered Scattered
2022
5 x 5 ft
( 1.5 x 1.5 mt)



Luba Zygarewicz is a multidisciplinary artist whose work delves into the essence and history of objects and places, navigating personal, cultural, and environmental concerns. Central to her practice is a profound attentiveness to the world around her, finding beauty and potential in the mundane. Zygarewicz amasses everyday objects that bear reflections of personal or communal histories. Through her projects, characterized by discards, repetition, and rituals, she explores themes of fragility, repair, hope, and belonging, employing humble materials and accumulated labor.


Driven by materiality and process, Zygarewicz recontextualizes the familiar through accumulation, manipulation, and repetition, to create pieces that serve as points of entry for new narratives. Her work comments on the transience of time and landscape, and elevates the seemingly banal through immersive, place-based installations and sculptures that foster greater environmental awareness, encourage appreciation for our surroundings, and inspire wonder.


“Nesting Flight upon a thousand wishes” chronicles the rite of passage into womanhood inspired as the artist’s daughters were coming of age.


“gathered/scattered” is part of “100 dwellings” an ongoing series dealing with the fragility of our sense of place as more and more people are being displaced due to natural disasters, redlining, gentrification, and crime. Shaped as a circle, it beckons restoration and wholeness.


All the teabags are from the artist’s daily ritual; each one standing as a marker of time and a testament to endless hours of labor.



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LUBA ZYGAREWICZ
Lives in the USA



Nesting Flight upon a thousand wishes
2018
12 x 5.5 x 3 in
(3.6 x 1.6 x 0.9 mt)



Luba Zygarewicz is a multidisciplinary artist whose work delves into the essence and history of objects and places, navigating personal, cultural, and environmental concerns. Central to her practice is a profound attentiveness to the world around her, finding beauty and potential in the mundane. Zygarewicz amasses everyday objects that bear reflections of personal or communal histories. Through her projects, characterized by discards, repetition, and rituals, she explores themes of fragility, repair, hope, and belonging, employing humble materials and accumulated labor.


Driven by materiality and process, Zygarewicz recontextualizes the familiar through accumulation, manipulation, and repetition, to create pieces that serve as points of entry for new narratives. Her work comments on the transience of time and landscape, and elevates the seemingly banal through immersive, place-based installations and sculptures that foster greater environmental awareness, encourage appreciation for our surroundings, and inspire wonder.


“Nesting Flight upon a thousand wishes” chronicles the rite of passage into womanhood inspired as the artist’s daughters were coming of age.


“gathered/scattered” is part of “100 dwellings” an ongoing series dealing with the fragility of our sense of place as more and more people are being displaced due to natural disasters, redlining, gentrification, and crime. Shaped as a circle, it beckons restoration and wholeness.


All the teabags are from the artist’s daily ritual; each one standing as a marker of time and a testament to endless hours of labor.



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LYNNE CHAPMAN
Lives in the UK



Father Brothers Husband
2020
94 x 66.5 x 66.5 in
(236 x 169 x 169 cm)



Lynne Chapman is a visual artist, principally creating hand-embroidered textiles in both 2 and 3 dimensions. Chapman’s current work is the culmination of a lifetime spent in the visual arts, with a rich history of storytelling through imagery. Her textile artwork incorporates a number of themes, but the most recent projects explore the very personal story of her relationship with the various symptoms of Aphantasia (the lack of a mind’s eye). Among other things, this involves face-blindness and SDAM (Severely Deficient Autobiographical Memory), since memory cannot be reinforced internally and visual reference cannot be held in the mind.


Chapman’s artwork probes the connections and fractures between perception and memory, considering the role that the visual recall of an individual’s personal backstory plays in the maintenance of their sense of identity and relationships with friends and family. “Forgotten Memories” (pictured right) comprises 144 incidents taken from an old diary, events Chapman had since forgotten. Each has been hand-embroidered onto layered squares of organza and then coiled up, becoming illegible and so returning to its previous inaccessibility. Like memories that remain just out of reach, they tease us with the knowledge that there is something there which we can’t quite get at. The heads in “Father, Brothers, Husband” (below) represent each of the men in Chapman’s close family, depicting the way her mind’s eye fails to remember even those people she knows intimately. The netting expresses the manner in which their features dissolve in the mind as she attempts to picture them. The text records the aspects of their appearance which she has ‘learned’ and so stored to her ‘knowing’ brain, as opposed to the features which she tries to visualize, but can’t.


In addition to her personal work, Chapman’s practice also includes regular collaborations with academics, a means by which she keeps herself continually challenged and her work is encouraged to evolve. Mark-making and exploration have always been central to her process, and each piece of artwork involves a balance between careful planning, organic evolution, and enforced randomness.



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LYNNE CHAPMAN
Lives in the UK



Forgotten Memories
2022
12.9 x 12.9 x 0.6 in
(33 x 33 x 1.6 cm)



Lynne Chapman is a visual artist, principally creating hand-embroidered textiles in both 2 and 3 dimensions. Chapman’s current work is the culmination of a lifetime spent in the visual arts, with a rich history of storytelling through imagery. Her textile artwork incorporates a number of themes, but the most recent projects explore the very personal story of her relationship with the various symptoms of Aphantasia (the lack of a mind’s eye). Among other things, this involves face-blindness and SDAM (Severely Deficient Autobiographical Memory), since memory cannot be reinforced internally and visual reference cannot be held in the mind.


Chapman’s artwork probes the connections and fractures between perception and memory, considering the role that the visual recall of an individual’s personal backstory plays in the maintenance of their sense of identity and relationships with friends and family. “Forgotten Memories” (pictured right) comprises 144 incidents taken from an old diary, events Chapman had since forgotten. Each has been hand-embroidered onto layered squares of organza and then coiled up, becoming illegible and so returning to its previous inaccessibility. Like memories that remain just out of reach, they tease us with the knowledge that there is something there which we can’t quite get at. The heads in “Father, Brothers, Husband” (below) represent each of the men in Chapman’s close family, depicting the way her mind’s eye fails to remember even those people she knows intimately. The netting expresses the manner in which their features dissolve in the mind as she attempts to picture them. The text records the aspects of their appearance which she has ‘learned’ and so stored to her ‘knowing’ brain, as opposed to the features which she tries to visualize, but can’t.


In addition to her personal work, Chapman’s practice also includes regular collaborations with academics, a means by which she keeps herself continually challenged and her work is encouraged to evolve. Mark-making and exploration have always been central to her process, and each piece of artwork involves a balance between careful planning, organic evolution, and enforced randomness.



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MAGALI WILENSKY
Lives in the USA



Heart of Hearts
2023
54 x 120 x 6 in
(137.1 x 304.8 x 15.2 cm)



My art reveals the mysteries of life by peering into the unseen layers of nature. The rolls and folds of fabric show us hidden cross-sections of atoms, cells, organs, and organisms. I want to expose the mystery and the majesty of millions of years of evolution, which started as the simplest life forms, becoming more complex over time with specialized organs, and finally culminating in our conscious mind. Representing this process as vibrantly colored visual and sculptural art, from simple to complex, and from infinitesimal to infinite, is the foundation of my work.


My process is twofold: inward meditation and outward projection. As I roll the fabric, I meditate while feeling the fabric between my fingers, the sensation of the scissors as they cut, and the glue on my hands. I respond to my material’s textures, bold colors, and how they are translated through my emotions.


As I delve within my self-awareness and manual creation, I see life forms emerge: cells, plants, and organs. My art is a lens to look within, to connect with our deepest most interior. By peering into my own layers, and examining my own cross-sections, I am able to transmute a personal meditative process into a fabric diagram of how to peel back the layers of reality and see that we are all cut from the same cloth.



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MAGALI WILENSKY
Lives in the USA



Primal Interconnection
2022
36 x 46.5 x 3.5 in
(91.4 x 118.1 x 8.8 cm)



My art reveals the mysteries of life by peering into the unseen layers of nature. The rolls and folds of fabric show us hidden cross-sections of atoms, cells, organs, and organisms. I want to expose the mystery and the majesty of millions of years of evolution, which started as the simplest life forms, becoming more complex over time with specialized organs, and finally culminating in our conscious mind. Representing this process as vibrantly colored visual and sculptural art, from simple to complex, and from infinitesimal to infinite, is the foundation of my work.


My process is twofold: inward meditation and outward projection. As I roll the fabric, I meditate while feeling the fabric between my fingers, the sensation of the scissors as they cut, and the glue on my hands. I respond to my material’s textures, bold colors, and how they are translated through my emotions.


As I delve within my self-awareness and manual creation, I see life forms emerge: cells, plants, and organs. My art is a lens to look within, to connect with our deepest most interior. By peering into my own layers, and examining my own cross-sections, I am able to transmute a personal meditative process into a fabric diagram of how to peel back the layers of reality and see that we are all cut from the same cloth.



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MALLORY ZONDAG
Lives in the USA



Order at the Counter
2023
78 x 13 x 22 in
(198.1 x 33 x 55.8 cm)



Mallory’s artwork explores our tenuous relationship with the continuous cycles of growth and decay of the natural world and humanity’s place within them using hand-felted wool, wax, fibers, and objects both found and recycled. Our collective fascination and repulsion towards natural processes, from blooming flowers to blooming molds, push her to sculpt moments of grotesque beauty in a tactile way,
blurring the boundaries between our bodies and our environment, our interior worlds and exterior realities.


Her work confronts the viewer with the natural process of decay that surrounds us by sculpting both abstract and realistic interpretations of it, she asks us to stare openly at our mortality and to take in the beauty of our impermanence. Within the Anthropocene, our relationship with the planet is more fraught than it has ever been, and through her fiber sculpture, she seeks to illustrate both our intrinsic connections and our destructive relationship with our planet, always asking how we can destroy what sustains us, why do we need to dominate what we are inextricably connected to, a planet that will ultimately consume us.


She explores deeply personal and connective universal stories through the meditative and hands-on practices of wet felting, weaving, sculpting, and stitching, and through these many mediums, seeks to bring the ephemeral into physical being.



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MALLORY ZONDAG
Lives in the USA



Picking
2023
12 x 9 x 3 in ea.
(30.4 x 22.8 x 7.6 cm ea.)



Mallory’s artwork explores our tenuous relationship with the continuous cycles of growth and decay of the natural world and humanity’s place within them using hand-felted wool, wax, fibers, and objects both found and recycled. Our collective fascination and repulsion towards natural processes, from blooming flowers to blooming molds, push her to sculpt moments of grotesque beauty in a tactile way,
blurring the boundaries between our bodies and our environment, our interior worlds and exterior realities.


Her work confronts the viewer with the natural process of decay that surrounds us by sculpting both abstract and realistic interpretations of it, she asks us to stare openly at our mortality and to take in the beauty of our impermanence. Within the Anthropocene, our relationship with the planet is more fraught than it has ever been, and through her fiber sculpture, she seeks to illustrate both our intrinsic connections and our destructive relationship with our planet, always asking how we can destroy what sustains us, why do we need to dominate what we are inextricably connected to, a planet that will ultimately consume us.


She explores deeply personal and connective universal stories through the meditative and hands-on practices of wet felting, weaving, sculpting, and stitching, and through these many mediums, seeks to bring the ephemeral into physical being.



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MARCELA DE LA VEGA
Lives in Chile



Acuifero
2024
118 x 24 x 0.4 in
(299.7 x 60.9 x 1 cm)



Marcela lived her childhood in Aysen, in the very south region of Chile. Therefore, her concern for sustainability has been related to every craft or duty. From the use of only recycled cotton rope as material to making her own “rope” from disused clothes, to the exploration with Chilean biomaterials as algae, potato starch and pectin, the case of the current project. At the same time, Marcela studied crossovers between diverse textile techniques.


In her first project “Vestirse de trama” (Dressing from weft), this crossover was applied to the creation of contemporary handmade clothing, using traditional basket weaving, loom, and sewing techniques. In Marcela’s actual project “Paños de agua azul” (Blue water cloths), she developed a kind of translation proposal between the visual codes of craftsmanship, the data obtained from scientific studies, and her experience in the ascension to the El Morado Glaciar with a research team. For this artwork, Marcela has incorporated techniques from the traditional Korean Bojagi, the square mesh embroidery pieces (Iberian Peninsula and the South American colonies), decorative tapestries (Africa), and from ancient reticular textile pieces (Chancay culture, Peru).


Coherently to her concerns, Marcela has always observed those species that are considered extinct in her homeland. So Glaciers appeared for her as a chance to reflect the silent disappearance through the beauty and “perfect” human craft or footprint. Contradiction as a way to extend conversation and reflection towards new audiences and hopefully new kinds of exhibition experiences.



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MARCELA DE LA VEGA
Lives in Chile



Corte Transversal Glaciar
2024
118 x 24 x 0.4 in
(299.7 x 60.9 x 1 cm)



Marcela lived her childhood in Aysen, in the very south region of Chile. Therefore, her concern for sustainability has been related to every craft or duty. From the use of only recycled cotton rope as material to making her own “rope” from disused clothes, to the exploration with Chilean biomaterials as algae, potato starch and pectin, the case of the current project. At the same time, Marcela studied crossovers between diverse textile techniques.


In her first project “Vestirse de trama” (Dressing from weft), this crossover was applied to the creation of contemporary handmade clothing, using traditional basket weaving, loom, and sewing techniques. In Marcela’s actual project “Paños de agua azul” (Blue water cloths), she developed a kind of translation proposal between the visual codes of craftsmanship, the data obtained from scientific studies, and her experience in the ascension to the El Morado Glaciar with a research team. For this artwork, Marcela has incorporated techniques from the traditional Korean Bojagi, the square mesh embroidery pieces (Iberian Peninsula and the South American colonies), decorative tapestries (Africa), and from ancient reticular textile pieces (Chancay culture, Peru).


Coherently to her concerns, Marcela has always observed those species that are considered extinct in her homeland. So Glaciers appeared for her as a chance to reflect the silent disappearance through the beauty and “perfect” human craft or footprint. Contradiction as a way to extend conversation and reflection towards new audiences and hopefully new kinds of exhibition experiences.



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MARCELA DE LA VEGA
Lives in Chile



Deshielo
2024
118 x 24 x 0.4 in
(299.7 x 60.9 x 1 cm)



Marcela lived her childhood in Aysen, in the very south region of Chile. Therefore, her concern for sustainability has been related to every craft or duty. From the use of only recycled cotton rope as material to making her own “rope” from disused clothes, to the exploration with Chilean biomaterials as algae, potato starch and pectin, the case of the current project. At the same time, Marcela studied crossovers between diverse textile techniques.


In her first project “Vestirse de trama” (Dressing from weft), this crossover was applied to the creation of contemporary handmade clothing, using traditional basket weaving, loom, and sewing techniques. In Marcela’s actual project “Paños de agua azul” (Blue water cloths), she developed a kind of translation proposal between the visual codes of craftsmanship, the data obtained from scientific studies, and her experience in the ascension to the El Morado Glaciar with a research team. For this artwork, Marcela has incorporated techniques from the traditional Korean Bojagi, the square mesh embroidery pieces (Iberian Peninsula and the South American colonies), decorative tapestries (Africa), and from ancient reticular textile pieces (Chancay culture, Peru).


Coherently to her concerns, Marcela has always observed those species that are considered extinct in her homeland. So Glaciers appeared for her as a chance to reflect the silent disappearance through the beauty and “perfect” human craft or footprint. Contradiction as a way to extend conversation and reflection towards new audiences and hopefully new kinds of exhibition experiences.



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MARIANNA MAGURUDUMIAN O’REILLY
Lives in Spain



Ascending Grotes que Totem
2024
55 x 32 in
(139.7 x 81.2 cm)



Marianna Magurudumian-O’Reilly is a multidisciplinary artist whose current practice encompasses a variety of artistic expressions from textile art, mask making, and costume design to video and sound experiments, painting, and drawing. Each of these practices informs the others, cross-pollinating, offering new areas for exploration. Interested in intuitive practices in art-making, she is using surrealist techniques of liberation of the subconscious through random mark making, and developing collages with hybrid characters set in imaginary architectural and psychological spaces.


Currently working on her solo show ‘The Grotesques’ in Tortosa, Spain, in May 2024, Marianna is creating a large installation made of textile collages, fabric sculptures, woven pieces, video, paintings, and drawings, developing them into fantastical compositions or grotesques, the style of wall decorations that were found in Emperor Nero’s Golden Palace in Rome, that incorporate hybrid forms and characters that essentially grow from and into each other in organic formations, seamlessly blending human figures with animals, plants, and architecture. Since moving from London to rural Spain, she is immersed in the natural environment of the Mediterranean, observing seasonal developments, taking inspiration from the rocky mountains and verdant landscapes to create organically and intuitively developed artworks that are enmeshed in her daily experience.


She uses organic dyes to paint her fabric murals and textile sculptures and incorporates clothing, wood, semi-precious stones from recycled jewelry, and pieces of discarded furniture to create fantastical assemblages.


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MARIANNA MAGURUDUMIAN O’REILLY
Lives in Spain



Grotesque Totem
2024
55 x 34 x 1 in
(139.7 x 86.3 x 2.5 cm)



Marianna Magurudumian-O’Reilly is a multidisciplinary artist whose current practice encompasses a variety of artistic expressions from textile art, mask making, and costume design to video and sound experiments, painting, and drawing. Each of these practices informs the others, cross-pollinating, offering new areas for exploration. Interested in intuitive practices in art-making, she is using surrealist techniques of liberation of the subconscious through random mark making, and developing collages with hybrid characters set in imaginary architectural and psychological spaces.


Currently working on her solo show ‘The Grotesques’ in Tortosa, Spain, in May 2024, Marianna is creating a large installation made of textile collages, fabric sculptures, woven pieces, video, paintings, and drawings, developing them into fantastical compositions or grotesques, the style of wall decorations that were found in Emperor Nero’s Golden Palace in Rome, that incorporate hybrid forms and characters that essentially grow from and into each other in organic formations, seamlessly blending human figures with animals, plants, and architecture. Since moving from London to rural Spain, she is immersed in the natural environment of the Mediterranean, observing seasonal developments, taking inspiration from the rocky mountains and verdant landscapes to create organically and intuitively developed artworks that are enmeshed in her daily experience.


She uses organic dyes to paint her fabric murals and textile sculptures and incorporates clothing, wood, semi-precious stones from recycled jewelry, and pieces of discarded furniture to create fantastical assemblages.



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MARIETA TONEVA
Lives in Sweden



Hands
2020
53.1 x 78.7 x 7.8 in
(135 x 200 x 20 cm)



Marieta Toneva is a multidisciplinary visual artist. In her art, she frequently seeks a borderland where the material and method serve as significant starting points. In her artistic practice, she follows numerous paths. Enameling, sculptural textile, and screen printing on various surfaces are a few examples. In order to cross and test her ideas, she is constantly looking for new perspectives and changing her working methods. Her own production is the main focus of her practice, which stems from an experimental approach to materials and techniques.


Marieta Toneva’s artistic process is slow and involves numerous stages of processing, which can take years. She collects her own drawings and photos of places she has visited and uses these to capture different moods within them. The images are then processed and built up layer by layer: in enamel, on plexiglass, or paper. The most significant path in her artistic practice is the textile one.


The characteristics of the specific materials are always the starting point. The fibers she works with become the medium through which she expresses emotions, memories, and connections. In each piece, she invites viewers to engage with the woven and stitched narratives, finding inspiration in the characteristics of the fibers.



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MARIETA TONEVA
Lives in Sweden



Origin II
2020
80.7 x 15.7 x 13.7 in
(205 x 40 x 35 cm)



Marieta Toneva is a multidisciplinary visual artist. In her art, she frequently seeks a borderland where the material and method serve as significant starting points. In her artistic practice, she follows numerous paths. Enameling, sculptural textile, and screen printing on various surfaces are a few examples. In order to cross and test her ideas, she is constantly looking for new perspectives and changing her working methods. Her own production is the main focus of her practice, which stems from an experimental approach to materials and techniques.


Marieta Toneva’s artistic process is slow and involves numerous stages of processing, which can take years. She collects her own drawings and photos of places she has visited and uses these to capture different moods within them. The images are then processed and built up layer by layer: in enamel, on plexiglass, or paper. The most significant path in her artistic practice is the textile one.


The characteristics of the specific materials are always the starting point. The fibers she works with become the medium through which she expresses emotions, memories, and connections. In each piece, she invites viewers to engage with the woven and stitched narratives, finding inspiration in the characteristics of the fibers.



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MARIKO NAGAO
Lives in Japan



Cordierite
2021
70.8 x 78.7 x 19.7 in
(179.8 x 199.8 x 50 cm)



She creates works with yarn spun, dyed, and twisted from wool. She aims to decorate spaces and walls with yarn as if she were dressing them with jewelry. The form of her work is draped and hung like a necklace. The themes of her work are often things that influenced her in her childhood or things that she feels or experiences on a daily basis. Especially as a child, she was purer than she is today. She has vivid memories of the excitement of opening an encyclopedia to look something up and the joy of knowing something she did not know.


The closest way to express those memories and feelings was hand-spun yarn. The unique shape and warmth of hand-spun yarns are part of the expression of her work, and they are filled with things that cannot be described in words. Yarn is dyed in 2-4 colors at the same time.


She likes the colors in between, where the colors blend with each other. She believes that the colors created by human hands are unique colors that can only be created at that time and not mechanically. A single strand of yarn has a strong presence and is pretty. A yarn made by twisting several yarns feels like a life force. The shape of the yarn supporting itself gives it energy.



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MARIKO NAGAO
Lives in Japan



Pink
2022
68.9 x 66.9 x 1.2 in
(175 x 169.9 x 3 cm)



She creates works with yarn spun, dyed, and twisted from wool. She aims to decorate spaces and walls with yarn as if she were dressing them with jewelry. The form of her work is draped and hung like a necklace. The themes of her work are often things that influenced her in her childhood or things that she feels or experiences on a daily basis. Especially as a child, she was purer than she is today. She has vivid memories of the excitement of opening an encyclopedia to look something up and the joy of knowing something she did not know.


The closest way to express those memories and feelings was hand-spun yarn. The unique shape and warmth of hand-spun yarns are part of the expression of her work, and they are filled with things that cannot be described in words. Yarn is dyed in 2-4 colors at the same time.


She likes the colors in between, where the colors blend with each other. She believes that the colors created by human hands are unique colors that can only be created at that time and not mechanically. A single strand of yarn has a strong presence and is pretty. A yarn made by twisting several yarns feels like a life force. The shape of the yarn supporting itself gives it energy.



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MARIKO NAGAO
Lives in Japan



Purple
2022
70.8 x 66.9 x 3.9 in
(180 x 169.9 x 9.9 cm)



She creates works with yarn spun, dyed, and twisted from wool. She aims to decorate spaces and walls with yarn as if she were dressing them with jewelry. The form of her work is draped and hung like a necklace. The themes of her work are often things that influenced her in her childhood or things that she feels or experiences on a daily basis. Especially as a child, she was purer than she is today. She has vivid memories of the excitement of opening an encyclopedia to look something up and the joy of knowing something she did not know.


The closest way to express those memories and feelings was hand-spun yarn. The unique shape and warmth of hand-spun yarns are part of the expression of her work, and they are filled with things that cannot be described in words. Yarn is dyed in 2-4 colors at the same time.


She likes the colors in between, where the colors blend with each other. She believes that the colors created by human hands are unique colors that can only be created at that time and not mechanically. A single strand of yarn has a strong presence and is pretty. A yarn made by twisting several yarns feels like a life force. The shape of the yarn supporting itself gives it energy.



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MARÍA ORTEGA
Lives in Spain



Blue Sea
2022
51.1 x 141.7 x 1.5 in
(130 x 360 x 4 cm)



The Liquid World project is based on reflection on environmental ethics and the “principle of responsibility” and the “new ethics of responsibility” of the German philosopher Hans Jonas, who highlights the abuse of human dominance over nature, leading to its destruction. He attempts to conceive contemporary social life that includes concern for the long-term sustainability of the system and encompasses future generations within the scope of our responsibilities. The global management of climate change requires specific measures that determine the principles of responsibility for all human beings regarding the environmental deterioration posing a significant threat to our planet. “Act in such a way that the effects of your actions are compatible with the permanence of authentically human life on Earth” “Do not jeopardize the indefinite continuity of humanity on Earth.” German philosopher Hans Jonas.


In this way, human beings begin to have a relationship of responsibility with nature, as they are under its power. He concludes by stating that a new ethical proposal is necessary, one that considers not only the human person but also nature. Este new power of human action imposes changes in the very nature of ethics.


Therefore, this project is part of the tradition of ecosophy, that is, the philosophy that questions the anthropocentric vision of the pyramid of living beings, in which the human being is enthroned at the top. This current, also known as the philosophy of the ecological crisis, is a search for wisdom in relation to human attitudes towards the protection of the environment, nature, health and life. Liquid World is also part of the ecofeminist movement. It establishes a link between the patriarchal domination of men over women and the domination of humans over nature.


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MARÍA ORTEGA
Lives in Spain



Green Sea
2022
51.1 x 90.5 x 1.54 in
(130 x 230 x 4 cm)



The Liquid World project is based on reflection on environmental ethics and the “principle of responsibility” and the “new ethics of responsibility” of the German philosopher Hans Jonas, who highlights the abuse of human dominance over nature, leading to its destruction. He attempts to conceive contemporary social life that includes concern for the long-term sustainability of the system and encompasses future generations within the scope of our responsibilities. The global management of climate change requires specific measures that determine the principles of responsibility for all human beings regarding the environmental deterioration posing a significant threat to our planet. “Act in such a way that the effects of your actions are compatible with the permanence of authentically human life on Earth” “Do not jeopardize the indefinite continuity of humanity on Earth.” German philosopher Hans Jonas.


In this way, human beings begin to have a relationship of responsibility with nature, as they are under its power. He concludes by stating that a new ethical proposal is necessary, one that considers not only the human person but also nature. Este new power of human action imposes changes in the very nature of ethics.


Therefore, this project is part of the tradition of ecosophy, that is, the philosophy that questions the anthropocentric vision of the pyramid of living beings, in which the human being is enthroned at the top. This current, also known as the philosophy of the ecological crisis, is a search for wisdom in relation to human attitudes towards the protection of the environment, nature, health and life. Liquid World is also part of the ecofeminist movement. It establishes a link between the patriarchal domination of men over women and the domination of humans over nature.


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MARÍA ORTEGA
Lives in Spain



Red Sea II
2023
51.1 x 90.5 x 1.54 in
(130 x 230 x 4 cm)



The Liquid World project is based on reflection on environmental ethics and the “principle of responsibility” and the “new ethics of responsibility” of the German philosopher Hans Jonas, who highlights the abuse of human dominance over nature, leading to its destruction. He attempts to conceive contemporary social life that includes concern for the long-term sustainability of the system and encompasses future generations within the scope of our responsibilities. The global management of climate change requires specific measures that determine the principles of responsibility for all human beings regarding the environmental deterioration posing a significant threat to our planet. “Act in such a way that the effects of your actions are compatible with the permanence of authentically human life on Earth” “Do not jeopardize the indefinite continuity of humanity on Earth.” German philosopher Hans Jonas.


In this way, human beings begin to have a relationship of responsibility with nature, as they are under its power. He concludes by stating that a new ethical proposal is necessary, one that considers not only the human person but also nature. Este new power of human action imposes changes in the very nature of ethics.


Therefore, this project is part of the tradition of ecosophy, that is, the philosophy that questions the anthropocentric vision of the pyramid of living beings, in which the human being is enthroned at the top. This current, also known as the philosophy of the ecological crisis, is a search for wisdom in relation to human attitudes towards the protection of the environment, nature, health and life. Liquid World is also part of the ecofeminist movement. It establishes a link between the patriarchal domination of men over women and the domination of humans over nature.



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MIRIAM MEDREZ
Lives in Mexico



Destellos-de-luz
2022
31.4 x 12.5 in
(80 x 32 cm)



Even when she has traversed through abstraction, her link with corporeality has always been present, particularly in her most recent work. Her consideration of the female body is the main subject and constant theme of her work. Images of the female body abound in the history of art, generally depicted through a man’s optic vision as an erotic object.


Nevertheless, the work presented by the artist, Medrez, is accomplished through her very own vision and entrails. The view applied to each of her individual pieces is made from the inside out and successfully emanates from gender ideas taken from an intimate, as well as a universal perspective. The essence of Medrez’s work is focused on the importance of manual labor, which gives her the capacity to give form to a sculpture through the dexterity of her own hands and sense of touch, lovingly creating and carefully molding each piece.


Every work of art made by her transmits the most powerful connection between the human eye and hand because of the dedication she extends to her artwork. It offers a successful transmission of feeling and gives the spectator an opening to a portal that will take them into worlds never before reached or even imagined.



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MIRIAM MEDREZ
Lives in Mexico



Figura-Negra-Flores
2023
28.7 x 14.5 x 20.8 in
(73 x 37 x 53 cm)



Even when she has traversed through abstraction, her link with corporeality has always been present, particularly in her most recent work. Her consideration of the female body is the main subject and constant theme of her work. Images of the female body abound in the history of art, generally depicted through a man’s optic vision as an erotic object.


Nevertheless, the work presented by the artist, Medrez, is accomplished through her very own vision and entrails. The view applied to each of her individual pieces is made from the inside out and successfully emanates from gender ideas taken from an intimate, as well as a universal perspective. The essence of Medrez’s work is focused on the importance of manual labor, which gives her the capacity to give form to a sculpture through the dexterity of her own hands and sense of touch, lovingly creating and carefully molding each piece.


Every work of art made by her transmits the most powerful connection between the human eye and hand because of the dedication she extends to her artwork. It offers a successful transmission of feeling and gives the spectator an opening to a portal that will take them into worlds never before reached or even imagined.


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MONA RITH
Lives in Austria



Illustration
2020
79 x 28 in
(200 x 71.1 cm)




In her artistic works, Mona Rith deals with the character and quality of materials, in close dialogue and depending on the technique and the particular conditions of implementation. In her woven sculptures, objects, or images, she experiments with different fibers, in combination with diverse methods and a variety of manipulations of the weaving process. Her main focus is on dobby weaving, but she also produces her own custom-made tools for the realization of her art. Additionally, she sometimes finishes her work with embroidery or sewn pieces. The immense spectrum of creativity offered by textile materials is her playing field.


Rith is interested in weaving abstract objects and explores the possibilities between solid structures and dissolution or decay. The concept of impermanence and the omnipresence of change are present in her work. She plays with tension, shrinkage, and other behaviors of the material through the method.


Mona observes and explores interactions, connections, and chains of reasoning with great curiosity. The representation of processes as a possible explanatory model for complex relationships and connections is one area of her considerations. Rith uses threads and surfaces in a natural way to manifest and depict phenomena creatively. The results are abstract works of art.



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MONA RITH
Lives in Austria



Wesen 6
2023
12 x 12 x 2 in
(30.4 x 30.4 x 5 cm)




In her artistic works, Mona Rith deals with the character and quality of materials, in close dialogue and depending on the technique and the particular conditions of implementation. In her woven sculptures, objects, or images, she experiments with different fibers, in combination with diverse methods and a variety of manipulations of the weaving process. Her main focus is on dobby weaving, but she also produces her own custom-made tools for the realization of her art. Additionally, she sometimes finishes her work with embroidery or sewn pieces. The immense spectrum of creativity offered by textile materials is her playing field.


Rith is interested in weaving abstract objects and explores the possibilities between solid structures and dissolution or decay. The concept of impermanence and the omnipresence of change are present in her work. She plays with tension, shrinkage, and other behaviors of the material through the method.


Mona observes and explores interactions, connections, and chains of reasoning with great curiosity. The representation of processes as a possible explanatory model for complex relationships and connections is one area of her considerations. Rith uses threads and surfaces in a natural way to manifest and depict phenomena creatively. The results are abstract works of art.



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NHA NGO
Lives in Austria



4.8.1995, Điện Bàn, Quảng Nam II
2019
29”



“4.8.1995, Điện Bàn, Quảng Nam II” is an installation, which consists of several woven layers. The strips of airy, lightweight silk organza fabric, printed with selected motifs, are intertwined and delicately allude to the artist’s childhood memories. Wandering between the woven pieces allows an interaction between the subtle physical manifestation of memory and the viewers.







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NHA NGO
Lives in Austria



Work Series In Between, In Between VII
2023
8 x 11 in
(20.3 x 27.9 cm)




The work series “In Between” presents a number of weaving works. The motifs are first printed on silk organza before they are cut into strips and woven into new formations. Each piece in this series is a unique narrative that tells its own story with a delicate fusion of past and present, from one place to another. This combination of materiality and memory creates an atmosphere that takes the viewer on a journey through time and space.








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OCTA CLAIRE
Lives in the USA


Embodied Silence Enclosed
2024
100 x 100 in
(254 x 254 cm)




Light and Body Matter, a multisensory fabric screen sculpture on the left, is a meditation tool designed to experience light, birth, and the transformation of space.


Framing the sun’s imprint on the mind, it facilitates the birth of space within the body through light and soundscapes, offering diverse spatial environments from domestic to urban settings. Descending towards the sunset, one immerses into the absence of light and into the unconscious state of life to be reborn again. Time is, therefore, tied in a cyclical framework.


On the next page, “Embodied Silence” is a wearable acoustic architectural environment functioning as a sculptural bookshelf, embodying silence for the gestation of thought and the dispersal of knowledge. This design draws parallels to the undisturbed central ovary structure of balloon flowers, symbolizing a space for birth.





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OCTA CLAIRE
Lives in the USA


Embodied Silence
2024
50 x 50 in
(128 x 128 cm)



Light and Body Matter, a multisensory fabric screen sculpture on the left, is a meditation tool designed to experience light, birth, and the transformation of space.


Framing the sun’s imprint on the mind, it facilitates the birth of space within the body through light and soundscapes, offering diverse spatial environments from domestic to urban settings. Descending towards the sunset, one immerses into the absence of light and into the unconscious state of life to be reborn again. Time is, therefore, tied in a cyclical framework.


On the next page, “Embodied Silence” is a wearable acoustic architectural environment functioning as a sculptural bookshelf, embodying silence for the gestation of thought and the dispersal of knowledge. This design draws parallels to the undisturbed central ovary structure of balloon flowers, symbolizing a space for birth.





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OCTA CLAIRE
Lives in the USA


Light and Body Matter
2023
6 x 2.4 ft
(182 x 74 cm)



Light and Body Matter, a multisensory fabric screen sculpture on the left, is a meditation tool designed to experience light, birth, and the transformation of space.


Framing the sun’s imprint on the mind, it facilitates the birth of space within the body through light and soundscapes, offering diverse spatial environments from domestic to urban settings. Descending towards the sunset, one immerses into the absence of light and into the unconscious state of life to be reborn again. Time is, therefore, tied in a cyclical framework.


On the next page, “Embodied Silence” is a wearable acoustic architectural environment functioning as a sculptural bookshelf, embodying silence for the gestation of thought and the dispersal of knowledge. This design draws parallels to the undisturbed central ovary structure of balloon flowers, symbolizing a space for birth.



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PENNY DI ROMA
Lives in Argentina



Here lies the remains of the
treasures of the Realm I destroyed
2024
68.9 x 15.7 x 15.7 in
(175 x 40 x 40 cm)




Her work is nourished by her imagination, where she recreates worlds with echoes of exotic gardens or undiscovered aquatic realms, fused with the abstract representation of the body and its viscera. Sensuality permeates her work through forms that contort and spill over. Tightness and containment. The constant dichotomy between restraint and discomfort. The prevailing sensation of suffocation, of urgency as if something is about to happen.


Her artistic research is deeply influenced by manual craftsmanship, such as sewing and embroidery. She is continually engaged in creating elements that could be related to landscapes of other worlds, interplanetary simulations. The reminiscence of flesh, viscera is a constant source of inspiration in her research. Currently, she is working within the framework of bioart and botany, where she creates incubator capsules that function as allegories contained in a physical space, depicting what has been and the future that will come; where these plants growing on plastic waste tell a story: the unfolding of an imminent future marked by the impact of the human footprint, where garbage landscapes loom and coexist with nature as we knew it.


Her ecosystems are constructed similarly to stalagmite and stalactite structures, confined within spaces with traces of post-human dystopias. Her amorphous forms are a representation of Garbage Habitats, formed from waste and accumulation. A land where humans reign. Futurism and craftsmanship, organic vs plastic, science and tradition, these constant contradictions that, in their desire to coexist symbiotically, define her artistic process.



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RAPHAEL DIAS
Lives in Brazil



Passagem do Tempo
2023
18 x 1.8 ft
(5.5 x 0.55 m)



Inspired by the modernist movement, Raphael Dias traverses themes linked to his solar soul, the curves of architecture, and the observation of nature’s expression. He creates and revisits imaginary landscapes, shapes, and contours tied to his experiences and emotions. The tapestry compositions originate from paper cuttings, which are transformed through threads, in the stillness of weaving.


He brings forth the sewing of time, with meticulous manual work in textures, movement, and organic shapes. In his research, he explores Brazilian aesthetics between the 1950s and 1970s, influenced by concretism and the pursuit of timeless forms and lines. He grew up observing and revisiting Niemeyer’s architecture, Burle Marx’s gardens, and Portinari’s murals. Architecture has always been a significant inspiration, as have the timeless lines of design.


He seeks to prioritize natural materials of Brazilian origin. The textures and shapes that tapestry allows him to showcase enchant him, and the way the pieces blend into environments, bringing lightness and elegance. Through paper collage, he simulates infinite combinations until he feels ready, where shapes magically intertwine, like an overlay of layers and fragments, where the only limit is himself.



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RAPHAEL DIAS
Lives in Brazil



Tarde de verão I
2024
3.93 x 2.7 ft
(1.20 x 0.85 m)




Inspired by the modernist movement, Raphael Dias traverses themes linked to his solar soul, the curves of architecture, and the observation of nature’s expression. He creates and revisits imaginary landscapes, shapes, and contours tied to his experiences and emotions. The tapestry compositions originate from paper cuttings, which are transformed through threads, in the stillness of weaving.


He brings forth the sewing of time, with meticulous manual work in textures, movement, and organic shapes. In his research, he explores Brazilian aesthetics between the 1950s and 1970s, influenced by concretism and the pursuit of timeless forms and lines. He grew up observing and revisiting Niemeyer’s architecture, Burle Marx’s gardens, and Portinari’s murals. Architecture has always been a significant inspiration, as have the timeless lines of design.


He seeks to prioritize natural materials of Brazilian origin. The textures and shapes that tapestry allows him to showcase enchant him, and the way the pieces blend into environments, bringing lightness and elegance. Through paper collage, he simulates infinite combinations until he feels ready, where shapes magically intertwine, like an overlay of layers and fragments, where the only limit is himself.



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RAPHAEL DIAS
Lives in Brazil



Tarde de verão II
2024
3.93 x 2.7 ft
(1.20 x 0.85 m)



Inspired by the modernist movement, Raphael Dias traverses themes linked to his solar soul, the curves of architecture, and the observation of nature’s expression. He creates and revisits imaginary landscapes, shapes, and contours tied to his experiences and emotions. The tapestry compositions originate from paper cuttings, which are transformed through threads, in the stillness of weaving.


He brings forth the sewing of time, with meticulous manual work in textures, movement, and organic shapes. In his research, he explores Brazilian aesthetics between the 1950s and 1970s, influenced by concretism and the pursuit of timeless forms and lines. He grew up observing and revisiting Niemeyer’s architecture, Burle Marx’s gardens, and Portinari’s murals. Architecture has always been a significant inspiration, as have the timeless lines of design.


He seeks to prioritize natural materials of Brazilian origin. The textures and shapes that tapestry allows him to showcase enchant him, and the way the pieces blend into environments, bringing lightness and elegance. Through paper collage, he simulates infinite combinations until he feels ready, where shapes magically intertwine, like an overlay of layers and fragments, where the only limit is himself.



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REGINA DURANTE JESTROW
Lives in the USA



Glitter & Gold 3
2023
49 x 37 in
(124.4 x 93.9 cm)



Her artistic practice involves deeply exploring American textile history and reinterpreting quilting traditions. Sewing as a child paved the way for a creative journey combining quilt-making with improvisation, contrast, repeat patterns, and shifts in scale. She draws inspiration from the vibrant landscapes of South Florida, weaving the colors, textures, and structures of the region into her work using a diverse palette of new, second-hand, and hand-dyed textiles.


An integral part of her artistic ethos is incorporating thrifted and second-hand textiles, aiming to address the pressing issue of textile waste that plagues our society today. She employs symbolic geometric quilt patterns as a foundation in her artistic practice, transforming and manipulating shapes to create dynamic movement and evoke a sense of transformation. To reflect the Miami landscape, she uses colors inspired by the rich tapestry of its diverse population, complemented by dyes derived from locally sourced plants.


Her use of materials, such as neoprene, sequins, and faux leather, pays homage to the pop culture that permeates Miami’s artistic identity. Her artistic journey is guided by a profound appreciation for American folk art quilts and a deep admiration for geometric-abstract artists from the mid to late twentieth century. Visionaries like the Gees Bend quilters, Elizabeth Murray, Helen Frankenthaler, and Gego have left an indelible mark on her creative perspective. Their influences have been powerful motivators, driving her to produce quilts with significant personal symbolism and weaving intricate narratives within their patterns.



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REGINA DURANTE JESTROW
Lives in the USA



Vulnerability & Resilience 16
2023
75 x 67 x 1 in
(190.5 x 170.1 x 2.5 cm)



Her artistic practice involves deeply exploring American textile history and reinterpreting quilting traditions. Sewing as a child paved the way for a creative journey combining quilt-making with improvisation, contrast, repeat patterns, and shifts in scale. She draws inspiration from the vibrant landscapes of South Florida, weaving the colors, textures, and structures of the region into her work using a diverse palette of new, second-hand, and hand-dyed textiles.


An integral part of her artistic ethos is incorporating thrifted and second-hand textiles, aiming to address the pressing issue of textile waste that plagues our society today. She employs symbolic geometric quilt patterns as a foundation in her artistic practice, transforming and manipulating shapes to create dynamic movement and evoke a sense of transformation. To reflect the Miami landscape, she uses colors inspired by the rich tapestry of its diverse population, complemented by dyes derived from locally sourced plants.


Her use of materials, such as neoprene, sequins, and faux leather, pays homage to the pop culture that permeates Miami’s artistic identity. Her artistic journey is guided by a profound appreciation for American folk art quilts and a deep admiration for geometric-abstract artists from the mid to late twentieth century. Visionaries like the Gees Bend quilters, Elizabeth Murray, Helen Frankenthaler, and Gego have left an indelible mark on her creative perspective. Their influences have been powerful motivators, driving her to produce quilts with significant personal symbolism and weaving intricate narratives within their patterns.



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RENATA CARNEIRO
Lives in Portugal



Maiko
2023
6 x 6 in
(15.2 x 15.2 cm)



Her work is a reflection on the Woman as an independent, constructive, and suffering human being who overcomes obstacles, who is creative and hard worker who imposes herself as a unique being and who gives birth to Life. Her passion for oriental culture is the inspiration for her paintings, drawings, and prints. The female figure present and honored in her work is a constant that sometimes praises and other times denounces those acts silenced by society. In a unique bond with nature, the East, and the West, her union with these elements is the way she finds to tell female stories.


The textile form of communication she finds it in just a couple of years and she is developing through the line of the thread some new organic forms on paper, reaping, sewing, constructing other meanings of the prints, other stories.


The ginkgo-biloba leaf is an important piece and always present in the work. It is a representation of strength, the capacity to overcome big and dramatic events in nature and therefore she compares it with women because of that, the very shape of the leaf, so beautiful cut with all the curves like the women’s body. As a Woman, she feels, she thinks, she paints, and she sews.



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RENATA CARNEIRO
Lives in Portugal



Maiko
2023
6 x 6 in
(15.2 x 15.2 cm)



Her work is a reflection on the Woman as an independent, constructive, and suffering human being who overcomes obstacles, who is creative and hard worker who imposes herself as a unique being and who gives birth to Life. Her passion for oriental culture is the inspiration for her paintings, drawings, and prints. The female figure present and honored in her work is a constant that sometimes praises and other times denounces those acts silenced by society. In a unique bond with nature, the East, and the West, her union with these elements is the way she finds to tell female stories.


The textile form of communication she finds it in just a couple of years and she is developing through the line of the thread some new organic forms on paper, reaping, sewing, constructing other meanings of the prints, other stories.


The ginkgo-biloba leaf is an important piece and always present in the work. It is a representation of strength, the capacity to overcome big and dramatic events in nature and therefore she compares it with women because of that, the very shape of the leaf, so beautiful cut with all the curves like the women’s body. As a Woman, she feels, she thinks, she paints, and she sews.
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SARA PEREIRA
Lives in Portugal



Morning in Sintra
2023
61 x 56 x 1.2 in
(154.9 x 142.2 x 3 cm)



When she thinks about her work, Sara Pereira envisions organic spaces filled with trees and abundant light. These spaces often depict crop fields fragmented by different plantations, featuring numerous shapes and intricate details. They represent areas in constant transformation, where the passage of time holds significant importance.


The notion of space between disparate elements is also central to her work— the space between her own space/time and that of others, the interplay between her body/spirit’s need for time/space and the relationships/tensions constantly evolving with surrounding bodies. She reflects on the juxtaposition of the contemporary lack of time with the ubiquitous need for constant connection and exposure to various media. Additionally, the concept of sketching as a creative process holds great significance for her.


She embraces the idea of her works being alive or in a state of perpetual construction, deliberately leaving traces of her process visible in the final pieces. In recent months, Sara has been experimenting with yellow thread on white net. Working with a single color allows her to freely explore space and techniques, discovering new shapes, textures, and their interplay. She creates these tapestries using latch hook technique, embroidery, and manipulated thread.



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SARA PEREIRA
Lives in Portugal



Pyrenees Series
2023
31 x 67 x 1.2 in
(78.7 x 170.1 x 3 cm)



When she thinks about her work, Sara Pereira envisions organic spaces filled with trees and abundant light. These spaces often depict crop fields fragmented by different plantations, featuring numerous shapes and intricate details. They represent areas in constant transformation, where the passage of time holds significant importance.


The notion of space between disparate elements is also central to her work— the space between her own space/time and that of others, the interplay between her body/spirit’s need for time/space and the relationships/tensions constantly evolving with surrounding bodies. She reflects on the juxtaposition of the contemporary lack of time with the ubiquitous need for constant connection and exposure to various media. Additionally, the concept of sketching as a creative process holds great significance for her.


She embraces the idea of her works being alive or in a state of perpetual construction, deliberately leaving traces of her process visible in the final pieces. In recent months, Sara has been experimenting with yellow thread on white net. Working with a single color allows her to freely explore space and techniques, discovering new shapes, textures, and their interplay. She creates these tapestries using latch hook technique, embroidery, and manipulated thread.


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SARAH HASKELL
Lives in the USA



Along the Wrack Line
2023
12 x15 x 2 in
(30.4 x 38.1 x 5 cm)



Thread is her medium, color is language. She dyes linen, paper, or cotton with botanical dyes from plants and minerals. She weaves, embroiders, or crochets these threads, seeking to define a personal truth and collective wisdom. The Buddhist concept of impermanence is at the core of her work. Exploring the parallels between the impermanence of her organic textile materials and our human bodies, she treats her handwoven linens to rust dyeing, weathering, bleach, and compost dyeing. These transformative dye processes allow her to be a witness in the process of metamorphosis and to challenge her attachment to what she once deemed as precious.


After the handwoven linen has been weathered and dyed, she embellishes it with hand stitching to add details to the imagery and story. Although she is trained as a fine textile maker, her work has always been more poetic than practical, finding beauty in the imperfection of hand-dyed and woven threads.


If there is a single thread that weaves consistently through her work – it is her curiosity about the human spirit and the mysteries of life. Within the repetitive methods inherent to textiles, she finds a quiet space of engagement - a place to illustrate universal stories of love, loss, and longing, the heartache of the ephemeral, the tender beauty of the natural world, and the astonishing gift of being human.



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SARAH HASKELL
Lives in the USA



Hold Me Like a Mother Red
2023
20 x 24 x 2.5 in
(50.8 x 60.9 x 6.3 cm)



Thread is her medium, color is language. She dyes linen, paper, or cotton with botanical dyes from plants and minerals. She weaves, embroiders, or crochets these threads, seeking to define a personal truth and collective wisdom. The Buddhist concept of impermanence is at the core of her work. Exploring the parallels between the impermanence of her organic textile materials and our human bodies, she treats her handwoven linens to rust dyeing, weathering, bleach, and compost dyeing. These transformative dye processes allow her to be a witness in the process of metamorphosis and to challenge her attachment to what she once deemed as precious.


After the handwoven linen has been weathered and dyed, she embellishes it with hand stitching to add details to the imagery and story. Although she is trained as a fine textile maker, her work has always been more poetic than practical, finding beauty in the imperfection of hand-dyed and woven threads.


If there is a single thread that weaves consistently through her work – it is her curiosity about the human spirit and the mysteries of life. Within the repetitive methods inherent to textiles, she finds a quiet space of engagement - a place to illustrate universal stories of love, loss, and longing, the heartache of the ephemeral, the tender beauty of the natural world, and the astonishing gift of being human.



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SARAH HASKELL
Lives in the USA



Open Circle, One Family
2023
12 x 15 x 2 in
(30.4 x 38.1 x 5 cm)



Thread is her medium, color is language. She dyes linen, paper, or cotton with botanical dyes from plants and minerals. She weaves, embroiders, or crochets these threads, seeking to define a personal truth and collective wisdom. The Buddhist concept of impermanence is at the core of her work. Exploring the parallels between the impermanence of her organic textile materials and our human bodies, she treats her handwoven linens to rust dyeing, weathering, bleach, and compost dyeing. These transformative dye processes allow her to be a witness in the process of metamorphosis and to challenge her attachment to what she once deemed as precious.


After the handwoven linen has been weathered and dyed, she embellishes it with hand stitching to add details to the imagery and story. Although she is trained as a fine textile maker, her work has always been more poetic than practical, finding beauty in the imperfection of hand-dyed and woven threads.


If there is a single thread that weaves consistently through her work – it is her curiosity about the human spirit and the mysteries of life. Within the repetitive methods inherent to textiles, she finds a quiet space of engagement - a place to illustrate universal stories of love, loss, and longing, the heartache of the ephemeral, the tender beauty of the natural world, and the astonishing gift of being human.



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SARAH VIGUER CEBRIÀ
Lives in France



Gambusino Bocazas
2023
39.3 x 27.5 x 11.8 in
(100 x 70 x 30 cm)



Gambusino is a series of textile sculptures that are both self-supporting and suspended, combining vernacular weaving technique and bio-material research. This 3D textile allows seamless assembly, directly from the loom, thanks to the adhesion of the bio-sourced rubber threads inserted in the direction of the warp. This technique enables endless combinations using its self-gripping edges. Like the original gambusinos – the hybrid, snake-like mythical animals that Iberian children hunt in places inhabited by spirits –, they are meant to help overcome one’s own fears. They act as a soothing cure for the artist’s rare illness that attacks her organs’ micro-vessels. Through the process of weaving, she mimics the snake’s passage from one edge to the other, creating a “living image” which, as Aby Warburg writes in The Ritual of the Snake, “binds by incorporation” the benefactor animal and her damaged blood vessels.


Her furred gambusinos are “magical analogies” endowed with clinical property, with wool threads, offering a hyper-resistant, warm, and protective fiber honoring animal strength. Like sponges, these chimerical creatures are full of orifices opening up on bended cavities.


They are “organ-bones,” connecting through their sphincters, “inviting the spirits from the mouth,” swelling and articulating thanks to rubber-made muscles and tendons. Matter has its own intelligence and behavior. These sculptures aim to question the role of matter in determining form. They embody a claim about formlessness and its power to rebel against the desire to impose an immutable order.


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SILVINA
Lives in Spain



Metropolis
2023
49.2 x 51.1 x 27.5 in
(125 x 130 x 70 cm)



Silvina Soria is deeply rooted in traditional techniques, where construction methods and materials are held in equal regard to conceptual exploration. She is driven by a quest to represent lightness and subtlety in sculpture. Her approach involves working with steel rods, intricately weaving them with wire and threads to reimagine volume and textiles, infusing space with delicate spatial patterns. Drawing inspiration from natural systems like rhizomes, roots, and maps, she constructs structures that evoke organic growth.


One of her series, “Alambrares,” features steel frames serving as looms for intricate wire designs. In her subsequent series, “3D Maps,” Silvina Soria ventures beyond threads, incorporating steel rods to create alive, organic forms. Her art is deeply influenced by her observations of urban life, where individuals often feel like pieces of a puzzle in a sprawling metropolis.


Silvina Soria’s personal interest in labyrinths, stemming from her time in London, reflects on the paradox of being seemingly trapped in routine amidst the city’s bustling crowds. Themes of mapping, rooting, and connections recur in her work, influenced by her status as a foreigner in her current city and through her art, Silvina Soria explores the intricacies of urban existence.



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SILVINA
Lives in Spain



Rooting
2018
25.5 x 36.6 x 20.8 in
(65 x 93 x 53 cm)



Silvina Soria is deeply rooted in traditional techniques, where construction methods and materials are held in equal regard to conceptual exploration. She is driven by a quest to represent lightness and subtlety in sculpture. Her approach involves working with steel rods, intricately weaving them with wire and threads to reimagine volume and textiles, infusing space with delicate spatial patterns. Drawing inspiration from natural systems like rhizomes, roots, and maps, she constructs structures that evoke organic growth.


One of her series, “Alambrares,” features steel frames serving as looms for intricate wire designs. In her subsequent series, “3D Maps,” Silvina Soria ventures beyond threads, incorporating steel rods to create alive, organic forms. Her art is deeply influenced by her observations of urban life, where individuals often feel like pieces of a puzzle in a sprawling metropolis.


Silvina Soria’s personal interest in labyrinths, stemming from her time in London, reflects on the paradox of being seemingly trapped in routine amidst the city’s bustling crowds. Themes of mapping, rooting, and connections recur in her work, influenced by her status as a foreigner in her current city and through her art, Silvina Soria explores the intricacies of urban existence.



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SILVINA
Lives in Spain



Underground
2017
36.6 x 29.5 x 3.1 in
(93 x 75 x 8 cm)



Silvina Soria is deeply rooted in traditional techniques, where construction methods and materials are held in equal regard to conceptual exploration. She is driven by a quest to represent lightness and subtlety in sculpture. Her approach involves working with steel rods, intricately weaving them with wire and threads to reimagine volume and textiles, infusing space with delicate spatial patterns. Drawing inspiration from natural systems like rhizomes, roots, and maps, she constructs structures that evoke organic growth.


One of her series, “Alambrares,” features steel frames serving as looms for intricate wire designs. In her subsequent series, “3D Maps,” Silvina Soria ventures beyond threads, incorporating steel rods to create alive, organic forms. Her art is deeply influenced by her observations of urban life, where individuals often feel like pieces of a puzzle in a sprawling metropolis.


Silvina Soria’s personal interest in labyrinths, stemming from her time in London, reflects on the paradox of being seemingly trapped in routine amidst the city’s bustling crowds. Themes of mapping, rooting, and connections recur in her work, influenced by her status as a foreigner in her current city and through her art, Silvina Soria explores the intricacies of urban existence.



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SONJA CABALT
Lives in The Netherlands



Pods 56893
2019
80 x 60 x 60 in
(203.2 x 152.4 x 152.4cm)



Sonja Cabalt’s work is about the delicate balance between humankind and nature. It recalls processes like new life, growth, decay and the fragility of our environment, although they evoke these elements in a non-literal way through abstraction. She is known for her tactile approach, playing with texture, experimental techniques and organic shapes; with the coexistence of attraction and repulsion, allowing the objects to evoke positive and negative feelings.


One of her major works includes the ‘Pods’ series, which started in 2012 and was created from separate elements that clump together, grow, and form a new organism. Zoomed in on molecules in a body, or on seeds that can emerge and grow again at any time. Based on various techniques and material research, she has developed a certain formal language for this and elaborated on it. The pieces eventually became larger and more alienating due to the combination of horsehair and wires, which creates a wrenching, uncomfortable feeling.


The tactile soft warm felt, therefore, takes on a different character and encourages the viewer to make new interpretations, associations, and imagination, to step into a poetic world.



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THE PHANTOMAT
Lives in the UK



Dust of Knowledge
2023
19 x 27 in
(48.2 x 68.5 cm)



With techniques of sober shamanism, The Phantomat goes on journeys to etheric worlds. During his states of altered consciousness, he can hear colors and smell mathematical shapes. He has tried to explain how a telephone works to a human spirit who died in the medieval times. A faint ‘screenshot’ of these experiences is documented after the journey.


In his abstract drawings on silk starting from 2017, he creates a playful frame with dense black patterns and shreds the silk on the edges which resemble tape from a cassette. They present a contrast to the beautiful realms created by blues and indigos bleeding on the silk. The body of work The Golden Shadow focuses on the perception of his body merging with other things like plants. Sketches with ink on textile paper have spotlights where they are colored like a hand-painted black and white movie.


Recurring themes are subjects that are partially out of the ‘frame’ of the painting and cracks or holes which separate this world from the other one. His works have a sketch-like appearance with different emotional states going on in one drawing. The Phantomat (*1977) grew up in Frankfurt and Costa Rica and lived in Vienna before moving to London in 2012. Exhibitions include: Humanity, Sotheby’s, London (2023), CICA Museum South Korea (2023), Brighton & Hove Museum (2023-24).



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THE PHANTOMAT
Lives in the UK



Spaceless
2020
12 x 8 in
(30.4 x 20.3 cm)



With techniques of sober shamanism, The Phantomat goes on journeys to etheric worlds. During his states of altered consciousness, he can hear colors and smell mathematical shapes. He has tried to explain how a telephone works to a human spirit who died in the medieval times. A faint ‘screenshot’ of these experiences is documented after the journey.


In his abstract drawings on silk starting from 2017, he creates a playful frame with dense black patterns and shreds the silk on the edges which resemble tape from a cassette. They present a contrast to the beautiful realms created by blues and indigos bleeding on the silk. The body of work The Golden Shadow focuses on the perception of his body merging with other things like plants. Sketches with ink on textile paper have spotlights where they are colored like a hand-painted black and white movie.


Recurring themes are subjects that are partially out of the ‘frame’ of the painting and cracks or holes which separate this world from the other one. His works have a sketch-like appearance with different emotional states going on in one drawing. The Phantomat (*1977) grew up in Frankfurt and Costa Rica and lived in Vienna before moving to London in 2012. Exhibitions include: Humanity, Sotheby’s, London (2023), CICA Museum South Korea (2023), Brighton & Hove Museum (2023-24).



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TICHIT CHANTAL
Lives in France



Cellules en Etat de Siege
2023
34 x 22 x 23 in
(86.3 x 55.8 x 58.4 cm)



To unmask and counter the expectations and injunctions associated with being born a girl or a boy, Chantal Tichit stacks, assembles, and constructs formal universes that play with ambiguity to encourage the eye to build bridges between the inside and outside of our bodies, outside a familiar formal body vocabulary.


Textile is one of her favorite mediums because it allows us to apprehend volume in a complex way. It can be modeled, spread out or constrained, contoured, included, folded... and give an account of an embodied existence. She mixes it with paper, which she also triturates and models, on which she also inscribes organic landscapes in pencil and watercolor.


This work also revolves around notions of difference and resemblance, with one form concealing another. Chantal Tichit knits and models complex structures by agglomerating, sewing, embroidering, and gluing textiles and paper, and by inserting salvaged objects to draw another anatomical geography, formulate another body mythology. She assembles heterogeneous, contradictory elements without compromising a certain visual harmony. The subtlety of the contours, the warm colors at first seduce, when suddenly, the perception of an organ or a tension shakes! In this way, these works embody beings with delicate features and gentle postures, allowing themselves to be expressed in the most subtle of ways.
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TICHIT CHANTAL
Lives in France



ContreCarré.e.s
2024
29 x 16 x 7 in
(73.6 x 40.6 x 17.7 cm)



To unmask and counter the expectations and injunctions associated with being born a girl or a boy, Chantal Tichit stacks, assembles, and constructs formal universes that play with ambiguity to encourage the eye to build bridges between the inside and outside of our bodies, outside a familiar formal body vocabulary.


Textile is one of her favorite mediums because it allows us to apprehend volume in a complex way. It can be modeled, spread out or constrained, contoured, included, folded... and give an account of an embodied existence. She mixes it with paper, which she also triturates and models, on which she also inscribes organic landscapes in pencil and watercolor.


This work also revolves around notions of difference and resemblance, with one form concealing another. Chantal Tichit knits and models complex structures by agglomerating, sewing, embroidering, and gluing textiles and paper, and by inserting salvaged objects to draw another anatomical geography, formulate another body mythology. She assembles heterogeneous, contradictory elements without compromising a certain visual harmony. The subtlety of the contours, the warm colors at first seduce, when suddenly, the perception of an organ or a tension shakes! In this way, these works embody beings with delicate features and gentle postures, allowing themselves to be expressed in the most subtle of ways.



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TICHIT CHANTAL
Lives in France



Mecanique des Fluides
2019
20 x 20 x 21 in
(50.8 x 50.8 x 53.3 cm)



To unmask and counter the expectations and injunctions associated with being born a girl or a boy, Chantal Tichit stacks, assembles, and constructs formal universes that play with ambiguity to encourage the eye to build bridges between the inside and outside of our bodies, outside a familiar formal body vocabulary.


Textile is one of her favorite mediums because it allows us to apprehend volume in a complex way. It can be modeled, spread out or constrained, contoured, included, folded... and give an account of an embodied existence. She mixes it with paper, which she also triturates and models, on which she also inscribes organic landscapes in pencil and watercolor.


This work also revolves around notions of difference and resemblance, with one form concealing another. Chantal Tichit knits and models complex structures by agglomerating, sewing, embroidering, and gluing textiles and paper, and by inserting salvaged objects to draw another anatomical geography, formulate another body mythology. She assembles heterogeneous, contradictory elements without compromising a certain visual harmony. The subtlety of the contours, the warm colors at first seduce, when suddenly, the perception of an organ or a tension shakes! In this way, these works embody beings with delicate features and gentle postures, allowing themselves to be expressed in the most subtle of ways.



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VERONICA POCK
Lives in The Netherlands


War Famine Plague Repeat IV
2022
26 x 15 x 1 in
(66 x 38.1 x 2.5 cm)



Veronica is an artist working in the medium of weaving, creating wall hangings and art from recycled and repurposed materials. The finished pieces range in size from larger wall hangings to small, intricate works and combine textures, colors, and finishes with a complexity of surfaces and structures that demand closer inspection. The overall result is an abstract image with emerging shapes and patterns, often appearing serendipitously, composed by the constraints of working on the weaving loom.


With materiality as a starting point, Veronica gives value and meaning to apparently worthless and waste materials, revealing their beauty, depth, and character using various handwoven structural effects. Old and unwanted materials, such as papers, are cut into fine strips and used as weft in a warp composed of various natural and synthetic yarns. At the heart of Veronica’s work is the intention to reveal what is hidden, exposing memories buried in the unconscious, held latent within.


Using materials with inherent ‘memories’ - used and waste materials - and reconstructing them, those memories are distilled and manifested as tangible structures. Reacting to the material and its provenance, Veronica exposes its essence, the story it has to tell. Weaving acts as a metaphor for memory expressed in textile form, where the impermanence of the textile reflects the transient nature of remembered events, experiences, and emotions. Veronica weaves memories into physical form, taking something unwanted and transforming it into a thing of beauty.



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VERONICA POCK
Lives in The Netherlands


Waymarkers
2022
59 x 18 x 5 in
(149.8 x 45.7 x 12.7 cm)



Veronica is an artist working in the medium of weaving, creating wall hangings and art from recycled and repurposed materials. The finished pieces range in size from larger wall hangings to small, intricate works and combine textures, colors, and finishes with a complexity of surfaces and structures that demand closer inspection. The overall result is an abstract image with emerging shapes and patterns, often appearing serendipitously, composed by the constraints of working on the weaving loom.


With materiality as a starting point, Veronica gives value and meaning to apparently worthless and waste materials, revealing their beauty, depth, and character using various handwoven structural effects. Old and unwanted materials, such as papers, are cut into fine strips and used as weft in a warp composed of various natural and synthetic yarns. At the heart of Veronica’s work is the intention to reveal what is hidden, exposing memories buried in the unconscious, held latent within.


Using materials with inherent ‘memories’ - used and waste materials - and reconstructing them, those memories are distilled and manifested as tangible structures. Reacting to the material and its provenance, Veronica exposes its essence, the story it has to tell. Weaving acts as a metaphor for memory expressed in textile form, where the impermanence of the textile reflects the transient nature of remembered events, experiences, and emotions. Veronica weaves memories into physical form, taking something unwanted and transforming it into a thing of beauty.



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NAME & SURNAME
COMPANY NAME


LOREM IPSUM DOLOR SIT AMET, CONSECTETUR ADIPISCING ELIT. MORBI RHONCUS LACUS EROS, NEC LOBORTIS SAPIEN PHARETRA AT. PELLENTESQUE EU PHARETRA TORTOR, ET TEMPUS DOLOR. SUSPENDISSE ULTRICES VULPUTATE TORTOR NEC EUISMOD.
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LOREM IPSUM DOLOR SIT
HOUSE DETAILS


PELLENTESQUE AC FRINGILLA NULLAM EUISMOD IPSUM AT TINCIDUNT RHONCUS. SUSPENDISSE POTENTI. NULLA VITAE SEMPER DOLOR, ET BIBENDUM SAPIEN.
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LOREM IPSUM DOLOR SIT
HOUSE DETAILS


PELLENTESQUE AC FRINGILLA NULLAM EUISMOD IPSUM AT TINCIDUNT RHONCUS. SUSPENDISSE POTENTI. NULLA VITAE SEMPER DOLOR, ET BIBENDUM SAPIEN.
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PRICE:
$390,000
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PRICE:
$390,000
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Threads of Tomorrow
Textile Art and Mixed Media 2013 - 2024
## Tour ### Description ### Title tour.name = Untitled 1