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AMARGER


French


Homo Naturae, 2024
85 x 75 x 12 in
Credit: AMARGER


She works with medical imagery, paper, textiles, and new technologies. Her installations play with the aesthetic factors of transparency and reflection, exploring themes of nature, light, and memory.


Her works also undeniably reflect on humanity, its place in society, the traces it leaves, the Anthropocene, the fragility of both humanity and nature, their resulting interdependence, and the duty to struggle and preserve.


AMARGER has a deep-rooted interest in the scientific and medical world, surgery, and archaeology. She contemplates the current state of the human body and the future of H+.


She sews together x-rays, which she embroiders, engraves, and laser cuts, transplanting and reconstructing the body’s anatomy, exploring the relationship between a surgeon and an artist. She has always been fascinated by the subtle thread that connects the visible to the invisible, the stratification of surfaces, and palimpsests. X-rays allow her an intimate journey within the physical body, in search of an interior nature, and she enjoys associating them with textiles, like Jacquard, by engraving double-sided textures that are different, sometimes unexpected, thus revealing a memory of the fabric in the skin.


The diversion of materials for artistic purposes and memory has always been essential for her. Sensitive to ecological issues, AMARGER finds in her artistic practice a symbolic double direction: creating artworks by recycling discarded materials. Currently, she questions the second life of materials intended for scrap by changing their initial status of waste. She aims for their rehabilitation and valorization through artistic action, transforming them and giving them new life. Her work offers a societal and artistic questioning about responsibility and the consequences of human actions in a society where production has become synonymous with destruction: an eco-responsibility that aims for zero waste.



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AMARGER


French


La Terre entre nos Mains #2 & #5, 2024
91x 26 x 8 in
Credit: AMARGER


She works with medical imagery, paper, textiles, and new technologies. Her installations play with the aesthetic factors of transparency and reflection, exploring themes of nature, light, and memory.


Her works also undeniably reflect on humanity, its place in society, the traces it leaves, the Anthropocene, the fragility of both humanity and nature, their resulting interdependence, and the duty to struggle and preserve.


AMARGER has a deep-rooted interest in the scientific and medical world, surgery, and archaeology. She contemplates the current state of the human body and the future of H+.


She sews together x-rays, which she embroiders, engraves, and laser cuts, transplanting and reconstructing the body’s anatomy, exploring the relationship between a surgeon and an artist. She has always been fascinated by the subtle thread that connects the visible to the invisible, the stratification of surfaces, and palimpsests. X-rays allow her an intimate journey within the physical body, in search of an interior nature, and she enjoys associating them with textiles, like Jacquard, by engraving double-sided textures that are different, sometimes unexpected, thus revealing a memory of the fabric in the skin.


The diversion of materials for artistic purposes and memory has always been essential for her. Sensitive to ecological issues, AMARGER finds in her artistic practice a symbolic double direction: creating artworks by recycling discarded materials. Currently, she questions the second life of materials intended for scrap by changing their initial status of waste. She aims for their rehabilitation and valorization through artistic action, transforming them and giving them new life. Her work offers a societal and artistic questioning about responsibility and the consequences of human actions in a society where production has become synonymous with destruction: an eco-responsibility that aims for zero waste.



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ARIJANA GADŽIJEV


Slovenian


Bubble BLUE, 2025
6 x 6 x 3 in


Bubble GREEN, 2025
4 x 4 x 2 in


Bubble PINK, 2025
5 x 5 x 3 in


Bubble YELLOW, 2025
5 x 5 x 5 in


Credit: ARIJANA GADŽIJEV


In recent years, Arijana has started to work on a smaller scale due to today’s overconsumption and environmental pollution. She works with so- called mini-textiles, where wearable art and smaller textile art objects are the main medium, all made by hand. She also likes the idea that an object can be used in many ways – just as a handmade piece of jewelry can become a stand-alone room element. She has always been very fond of detail and admires small, detailed works of art from different centuries and nations, folk art and decorative art as well as the details of nature. Her textile artwork reflects a respect for craftsmanship, which in the eclectic combination of shapes, colors and author’s patterns represents themes such as nature conservation, folk heritage and social inclusion.


The Kaleidoscope Bubble collection of textile artworks consists of geometric objects with kaleidoscopic shapes and dynamic patterns whose iridescent colorful motifs flow, connect, break and burst like soap bubbles upon contact with other matter. Each object is a unique world of thought, representing the individuality of each human mind and emphasizing the importance of neurodiversity and its inclusion in today’s society.


The handmade art objects, digitally printed on woven textiles with the author’s patterns, are complemented by embroidered and sewn elements made of luminous yarn that glows in the dark when previously exposed to light – conceptually suggesting that no one can take away our thoughts, they are always present within us and our diverse inner world. The objects are light and soft and can be placed in the interior as stand-alone room elements, but they can also become functional objects such as bracelets and brooches worn on the body - a personal object, regardless of gender or age. The Kaleidoscope Bubble collection celebrates human diversity, because as we know, being different does not mean being inferior.




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ARTISTS' BIOGRAPHIES





ALMUDENA TORRÓ


Nationality: Spanish


Instagram: @almudena.torro
Website: almudenatorro.com


Almudena Torró was born in Madrid and currently lives in Alicante. She graduated in Fine Arts from the Miguel Hernández University in Elche, Spain. She is a sculptor of stainless steel metal mesh. In her early artistic years, she developed her work with reflections close to the thought of Oteiza, in the search and investigation of emptiness, and by the magnificent works of the master of kinetics and geometry, Eusebio Sempere, whose works exhibited at the Museum of Contemporary Art of Alicante Almudena knows perfectly. The artist, in her desire to represent her memories and experiences with autobiographical recursion, reflexively experiments with the expressiveness of emptiness, light, and shadows projected in space. Her exhibitions are a clear example of the constant oscillation that exists in contemporary art between matter and immateriality, between intellectual experience and artistic experience. Not by chance, her series Trails and Jumbles show a poetic logos immersed in the very course of life, and especially, in the series É-Panta rei, she brings a suggestive form to the Heraclitean logic of becoming and the continuous transformation that regulates life. It can also be said that the artist draws from the sources of creative knowledge that the philosopher María Zambrano associated with the very fact of feeling the inevitable passage of time day after day. It is this same creative fabric that permeates the sculptor’s life experience and to which she wants to make the viewing public a part. Torró has exhibited in public and private institutions, art galleries, and in various national and international art fairs. In 2024, she was a finalist in the renowned Aesthetica Art Magazine. She is currently working on her next solo exhibition for the European Union Intellectual Property Office.



AMARGER


Nationality: French


Instagram: @brigitte_amarger
Website: brigitteamarger.com


Brigitte AMARGER (b. 1954, France) is a Paris-based visual and textile artist, a post-graduate from Applied Arts High Schools and the Arts University of Paris, France (1978). She is a Paris-based artist who creates mural or sculptural achievements, interior, and in situ installations that explore themes of nature, light, memory, science, and the human being. Her practice includes numerical techniques, laser cutting and engraving, textile, mold sculpture, photography, and painting. She works predominantly with the mediums of medical imagery, textiles, luminescent and reflective materials, handmade paper, and hot glue. She is best known for her large-scale installations and works using discarded materials: x-rays, textiles, and paper. Their diversion and recycling for artistic, societal, and memory purposes are essential for her. Sensitive to ecological issues, her eco-responsible artistic practice aims for zero waste. Since 1978, AMARGER’s work has been exhibited internationally in solo and notable group exhibitions in contemporary art spaces and museums. Her work has been included in private and public collections worldwide, featured in various publications, and has received numerous distinctions.



ARIJANA GADŽIJEV


Nationality: Slovenian


Instagram: @arijanagadzijev
Website: arijanagadzijev.com


Arijana Gadžijev (1981) holds Master of Arts in Textile and Fashion Design, is a freelance designer and assistant professor at Chair of Textile and Fashion Design, Faculty of Natural Sciences and Engineering, University of Ljubljana. Since graduating, she presented her work in solo and group exhibitions, as well as in art and design projects at home and abroad. She has received national and international awards and prizes for many of her works. This year she received the European Textile & Craft Award 2025 for her collection of wearable art LUmini. In 2021, she received the international BigSEE Product Design Award 2021 for her textile jewellery collection for body and home Slovanka. Her work has been exhibited at the 7th METALLOphone biennial 2024 in Vilnius (Lithuania), in an exhibition of photographic artworks at the KCDA Invited International Exhibition in Vancouver (Canada, 2023), Washington D.C. and Michigan (USA, 2023- 2024), in galleries in European cities (Enschede, Madrid, Neuchâtel, Salamanca, Athens, Porto, Rome and Paris) in 2022-2024, as part of the international curated project “On the move, jewels”, at the New York Jewellery Week 2023 (in the form of a video), Romanian Jewellery Week 2023 (Bucharest) and Romanian Jewellery Week - Chisinau Edition 2023 (in Moldova), Slovenian Jewellery Week (2022, 2023, 2024), Milano Jewellery Week 2022, at the textile art biennial BIEN 21 in Kranj (Slovenia, 2021). She is a member of the Klimt02 Association, a platform for the communication of international art jewellery and contemporary arts and crafts. As a textile designer and artist, she works mainly with print and design patterns and motifs, which she applies to various textile art objects. Combining both manual and digital design techniques, she likes to explore how the pattern works on a particular textile form, how it moves around a particular 3D object, how it fits into the seam and how it can visually change the image of the form.



CAMILA LEITE


Nationality: Brazilian


Instagram: @camilaleitebastos


Camila Leite learned to embroider with her grandmother as a child, and her artistic practice emerges from a sensitivity to the path that embroidery itself wishes to follow. In her compositions, the artist uses vintage materials, often collected and produced by other women, bringing a unique dimension to the idea of a patchwork quilt. Interested in the composition of colors and layering of fabrics, as well as a wide range of stitch types and thread textures, her embroideries create microscopic units and bodies that represent life.



CATH ORAIN


Nationality: French


Instagram: @cathorain and
@wildcathpatterns


Cath Orain is a French embroidery designer and set painter based in Paris. The story begins in 2008, when she traveled to a friend’s home in Dakar and volunteered to give paper-folding lessons to children at a social center. In exchange, the woman in charge invited her to take part in introductory embroidery and dyeing classes with the center’s young girls. Back in Paris, she joined a collective of embroiderers and began figurative textile research on sensitive subjects such as the female condition and the climate crisis. In 2012, she joined the French artists’ collective “Fiber Art Fever,” took courses at the famous “Lesage school,” and began exhibiting her work at the Festival “Les uns chez les autres,” organized by Paris City Hall, and at the Manufacture de Roubaix (Museum of Memory and Textile Design). Since 2013, her creations have been regularly exhibited in Europe (France, UK, Sweden, Italy) and the USA, and published in the press (Connaissance des Arts, Mr X Stitch “The Cutting & Stitching Edge,” The Untitled Magazine, Fiber Art Now...).



COEFFICIENTE G


Nationality: Italian


Instagram: @coefficiente_g
Website: gigarte.com/gaetanofrigo


Gaetano Frigo, 31 years old, lives and works in Vicenza, Italy. The elements that make Gaetano’s work recognizable are certainly the silhouettes of the plants omnipresent in the paintings, and the characteristic way of working only with bleach by subtraction (brushing and spraying it) on single-color fabric bases, as if to lighten them, expressing interest in the connection between nature, mental activities, and the physical health of human beings. This medium, discovered in 2019, has become his favorite, although since 2016 he has been experimenting in various ways with markers dissolved in alcohol, mirrors, salt crystallizations, and he still secretly enjoys creating other works attributable to nature and its transformations. Before rediscovering his passion for the visual arts, he composed electronic music for ten years, discovering that sometimes ideas do not come from us but are an expression of physical matter itself that uses us as a medium. Growing up watching his carpenter father create everything out of wood in their home, he assimilated and recognized the value of craftsmanship and attention to detail. In recent years, he has begun to obtain small awards as a finalist in some competitions, such as in the ninth edition of the Cramum Prize in Milan and in the sixteenth edition of the Arte Laguna Prize in Venice.



DAGMAR LUCIA ODORIZ


Nationality: Argentinian


Instagram: @dagmar.creando.art


A self-taught abstract painter, Dagmar Odoriz creates works that explore the connection between place, time, and emotions, elements ever-present in everyday life. Her art invites you to pause amidst the whirlwind of modern life and reflect on these essential connections. She works on rigid supports, handcrafted with a textured paste made from plaster, charcoal, and ashes, complemented by pigments and adhesives to achieve compositions with profound depth. Her techniques, including graphite drawing, Chinese ink, and charcoal, bring sensitivity and harmony to her creations, blending human experience with natural elements. Despite being self-taught, her talent has been recognized in prestigious artistic spaces such as the Maggs Gallery’s Palazzo Expo. She was awarded the first prize in the Winter Collection of Galería Braque, solidifying her place as an innovative voice in abstract painting. Her works serve as a bridge between the natural environment and human introspection, inviting viewers to reconnect with what truly matters.



DOROTA WIŚNIEWSKA


Nationality: Polish


Instagram: @dorotka.tka
Website: wisniewskaart.pl


She was born in 1969. In 1989, she graduated with honors in Artistic Weaving from the Tarnów Secondary School of Fine Arts. Between 1991 and 1993, she completed vocational studies in Architectural Detail Conservation at the University of Opole (Nysa Campus). In 1997, she completed a one-year program in Public Relations and Advertising. Since 1995, she has been working for various companies as a marketing and advertising specialist. She is also involved in graphic design, although artistic weaving remains her primary artistic focus. In recent years, her creative endeavors in this field have intensified, resulting in participation in both solo and group exhibitions. For example, in 2022, she presented a solo exhibition titled „Multithreading” at the Bema 20 Foundation Gallery in Tarnów. In 2024, two of her tapestries were featured in the 12th International Artistic Linen Cloth Biennial in Krosno, and a tapestry miniature was accepted for the 13th edition of Baltic Mini Textile Gdynia, which will take place in 2025 under the theme Community.



ELISA LUTTERAL


Nationality: Argentinian-american


Instagram: @elilutteral


Elisa Lutteral (born 1992, NY, U.S.) is an Argentinean/American multidisciplinary artist based in New York, U.S. Lutteral attended the University of Buenos Aires (FADU, 2015), where she later worked as a lecturer and teacher (2016). She holds an MFA in Textiles from Parsons, The New School for Design (2023). Elisa has participated in the Sakata Orimono residency in Hirokawa, Fukuoka, Japan, the Emma Kreativzentrum Pforzheim Residency, Pforzheim, Germany, the NYLAAT residency program, New York, U.S., and the HDTS (High Desert Test Sites) residency in Joshua Tree, U.S. Lutteral has recently received the VSC/Windgate Artist Fellowship and attended the Vermont Studio Center residency in Johnson, Vermont, U.S. In 2025, she will take part in the NYFA Mentoring Program for Immigrant Artists. Her work has been exhibited at Talente in Munich, Germany, Laguna Mexico during Mexico Art Week, and Super Gallery, Vienna, Austria. Her work has also been exhibited at L Space Gallery, Picture Theory Gallery, 1923 Gallery, and PTM Contemporary in New York, U.S.



EVELYN POLITZER


Nationality: Uruguayan


Instagram: @evelynpolitzer
Website: evelynpolitzer.com


Evelyn Politzer, originally from Uruguay, now lives and works in Miami, Florida. After attending law school in Montevideo, Uruguay and moving to the United States, she pursued her passion for art. Evelyn is a 2020 recipient of the Ellies Creator Award from Oolite Arts Organization and graduated with her MFA in Visual Arts in 2021 from Miami International University of Art and Design. Politzer’s solo exhibitions include “Felt Dreamscapes” 2024 at the Ft Lauderdale Airport, Terminal 2; “Nature and History” 2023 at the Hidden Garden in Pinecrest Gardens, FL; “Tree Huggers and Nests. The art of Evelyn Politzer” 2022 at Miami Beach Botanical Garden; “Invisible Threads” 2021 at Hialeah Cultural Center, Miami Dade College; and “Knitting as Poetry, Reflections on the Natural Environment” 2018 in The Eye Has to Travel Gallery, Miami International Airport, American Airlines Terminal. Selected 2024 group exhibitions include “Oolite Arts in the Gardens’’ at Pinecrest Gardens; “Conceptually Green” at Arts Warehouse in Delray Beach, FL; “La Mujer y sus Causas” at the Instituto Cultural Mexico in Coral Gables; and “American Heartbeats” at Museum of Contemporary Arts of the Americas in Kendall, FL. Working in fiber art allows her to foster community, bringing people together. Politzer has co-organized World Wide Knit in Public Day in Miami (2016-2019). During the 2020 pandemic, Evelyn felt compelled to create a platform for others to share their textile art journey. Together with two other local artists FAMA - Fiber Artists Miami Association was born, with the mission to educate and advance contemporary textile art in Miami.



FRANCES PALGRAVE


Nationality: German


Instagram: @mystitchart
Website: mystitchart.jimdofree.com


Textile artist Frances Palgrave lives and works in Hamburg, Germany. Following a lifelong interest in photography, painting, and drawing, Frances Palgrave began her journey into textile art in 2015. In her free-motion stitch drawings, fabric collages, and embroidered sculptures, the self-taught artist explores stories of everyday life and the relationship of the self to nature. She often transfers her textiles and materials into new contexts depending on their color, structure, and history of use.



GIULIA BERRA


Nationality: Italian


Instagram: @berra_giulia
Website: giuliaberra.com


Giulia Berra was born on the 3rd of April 1985 in Cremona (Italy). She lives and works between Cremona and Turin, where she is professor of Artistic Anathomy at Accademia Albertina di Belle Arti di Torino. As visual artist, she exposes in group and solo exhibitions in Italy and abroad, developing projects deeply connected with nature, architecture and heritage. Selected for JCE Biennale 2015-2017, that involved seven European Countries, in 2016, during her JCE artistic residency at Amarante (Portugal) she realized two site specific installations made with fibers and natural leftovers for the Museu Municipal Amadeo De Souza_Cardoso. In 2019 she won the first prize of Premio Internazionale Generazione Contemporanea and she was finalist of Talent Prize and VAF Foundation Prize, with exhibitions at Mattatoio, Rome, Mart Museum (Rovereto, Italy) and Stadtgalerie Kiel( (Germany). In 2020/21 she was resident artist in Berlin thanks to the Fresh A.I.R. Scholarship Program by Berliner Leben Foundation. In 2022 she won the special prize Emmanuele F.M. Emanuele of Talent Prize. In 2023 she took part to the textile biennial BIEN 2023 (Kranj, Slovenia) and she realized Topografia dell’attesa, an artist room for Flashback Habitat, Turin. In 2024 she contributed to revitalize the HorticulturalGarden at Kranj, Slovenia, with the residency project BIENlife.



GUILLERMINA BAIGUERA


Nationality: Argentinian


Instagram: @guillerminabaiguera


Guillermina Baiguera was born in General Villegas, 1979. Visual artist and teacher. Lives and works in Buenos Aires, Argentina. She studied graphic design at the University of Buenos Aires. In the field of visual arts, she has participated in workshops for artists since 2010 and until 2020. Her practice and research have largely focused on embroidery. She is particularly interested in taking needlework into challenging or critical situations. In this sense, she incorporated drawing, sculpture or sculptural objects, ceramics and also organic materials such as human hair, her most recent research. In her work, one can read the history of embroidery, but above all a deconstruction of embroidery, if not a destruction. Her works are treatises that annihilate the very idea of needlework. She has shown her work in Argentina, Colombia, México, U.K., Germany, Japan and the United States, where she lived for two years. She received important distinctions such as the First Textile Prize of the National Salon of Visual Arts 20/21 and the Scholarship of the National Fund for the Arts in 2014. Last year, she participated in the Research and Creation residency in Biomaterials of CheLA, exACTa Foundation and in 2021 in the NARA artistic residency (Villa de Leyva, Colombia). As an artist, she collaborates with different publishing projects: the recent book Nosotras Cautivas (Ediciones Bucle, 2023), the catalogue Tejer las Piedras (MALBA, 2022), the digital book Dibujo Contemporáneo en la Argentina (2015), and the one published by Planta Editora: Traveseando (Premio ALIJA, 2011), among others. Teaching occupies a significant part of her artistic work. Since 2008, she has given classes and seminars in other parts of the world in the flow of her work in Argentina, in her workshop and other institutions.



INGRA MAIA


Nationality: Brazilian


Instagram: @peplos_
Website: peplos.com.br


After years of study and exploration with natural dyes, Ingra Maia developed a black natural ink, made with ingredients she harvested from her own home garden in São Paulo, such as a Brazilian berry called “jaboticaba.”
With that, she could finally start experimenting with painting on her handwoven textiles, made with thin recycled cotton yarn on a rigid heddle loom. The meticulous geometric patterns she then started painting on the cotton surfaces are part of a style she began exploring in 2015, but at that time, using pen and paper. The patterns of each piece are created spontaneously as she paints them, each figure filling the space like a puzzle. For the artist, the sensory experience plays an important role during the art-making, as the sensations while holding and moving the brush on the raw cotton surface inspire movement and the creation of forms. That makes the process interesting, as it is very intuitive, which creates a contrast to the expectation of rationality when looking at geometric figures such as these. The pieces allude to the aesthetics of ancient tribal patterns but in a very disconnected way, with no defined pattern or repetition intended. With this series, the artist achieves the goal of expressing her experience as a contemporary artist while having access to, dedicating herself to studying, understanding, and living ancestral techniques, and preserving them.



JASON KRIEGLER


Nationality: American


Instagram: @jasonkriegler
Website: jasonkriegler.com


Kriegler’s work has been exhibited both within the U.S. and internationally. He currently lives and works in Mexico City, Mexico. “I have a deep interest in the stories, application,
materials and techniques which have been told through textiles and the people that create them: the historical nature of man-made creations from different regions, tribes or villages which construct these intricate pieces.
Men and women contributing to conceive unique works through the making of textiles. Ceremonial, everyday use, wearables, trade or decoration: shapes, patterns, color and ideas unfold through the centuries.” - Jason Kriegler



JOAN BRENDA HUNT


Nationality: Dutch


Instagram: @joanbrendahunt
Website: joanbrendahunt.com


Joan Brenda Hunt is a multimedia artist, born, raised, and based in Amsterdam. Of Dutch-Indonesian colonial descent, her parents came to the Netherlands in the mid-fifties. They were creative persons themselves and taught her from when she was little important basics like drawing, painting, sewing and sent her to an art school for children because she was always busy making things. Despite her big dream of becoming an artist, she didn’t study art immediately because she was shy and insecure about it. Instead, she got a master degree in Spanish to become a teacher, but ended up in other jobs, marriage and motherhood. In addition she continued to develop herself in art, followed by a 3-year art academy later in life. But when her art projects grew bigger and more intensive, she quit her job and had a first solo exhibition in 2023. Always exploring new media, she loves working at the nearby public workshop for metal and woodworking to learn new techniques and expand her possibilities. She has been active for several years as a volunteer at a studio for artists with disabilities. Lately, she has been working with other artists and social initiatives she supports. As a ‘second generation Indo’, she also helps to collect objects and stories from the Dutch-Indonesian colonial legacy because the first generation that came to the Netherlands disappears with all their knowledge. To intertwine these stories in contemporary art is a new goal she’s aiming at.



JULIA KIRYANOVA


Nationality: Dutch


Instagram: @juulskiryanova
Website: juliakiryanova.com
Represented by: Rademakers Gallery


Julia Kiryanova is a multidisciplinary artist based in Amsterdam, The Netherlands. Born in Kazakhstan and raised in Sterlitamak, Bashkortostan (formerly USSR), Julia began her artistic journey at age 7 when her mother enrolled her in art school. She attended several art schools and graduated with strong foundational skills. After completing her studies at the College of Art in Sterlitamak, Julia moved to Sweden, where she held her first international exhibition at Virserum Kunsthall in 2012. She later spent a year in Odense, Denmark, before settling in The Netherlands. There, she continued her art education at the Royal Academy of Art in The Hague (2016–2017) and the Gerrit Rietveld Academie (2017–2018). In 2022 and 2023, Julia was twice nominated for The Royal Award for Modern Painting in The Netherlands. Her work has been featured at various prestigious venues, including the Royal Palace of Amsterdam, the Dutch Ministry of Foreign Affairs in Brussels, Galerie Maurits Van De Laar, Cokkie Snoei Gallery, Torch Gallery, Art Rotterdam, Grauzone Festival, Amsterdam Museum, Museum Ons’ Lieve Heer op Solder, the National Holocaust Museum, Gallery Untitled, Josilda da Conceição Gallery, and SBK Gallery. She is currently represented by Rademakers Gallery. J. Kiryanova’s practice is supported by key Dutch cultural funds, including Mondriaan Fonds, Amsterdams Fonds voor de Kunst (AFK), Gemeente Amsterdam Zuid, and Cultuurfonds.



KARENNE ANN & HEATHER HORROCKS


Nationality: Australian


Instagram: @isoyoh13
WEBSITE: karenneann.com


Ann and Horrocks, who live on Wadawurrung land in Victoria, south-east Australia, met through their separate creative practices two decades ago. Proudly declaring themselves ‘crones’, they led the classic life journey of women whose family and work life came first in their earlier decades. In 2022 they formed a collaboration they named ISOyoh (‘ISO’ for how sensitive a camera is to light, and ‘yoh’ for ‘yarn over hook’, a universal knitting and crochet instruction). Mid-Covid Heather stitched a gold granny-square mask for a bronze bust of Australian Prime Minister Julia Gillard in the Ballarat Botanical Gardens. It was removed by security but Horrocks replaced it. Over and over again. One is now in the collection of the Melbourne Museum.
Horrocks then began contemplating other masks in history, starting with a 17th century bird-beaked plague doctor mask. Her masks use hundreds of metres of black film from discarded VHS tapes. The embodied stories are crocheted into new narratives which reference historical figures such as Celtic warriors and 21st century Australian feminist heroes. Horrocks’ practice is almost entirely focussed on recycling, repurposing and re-imagining unloved materials. Similarly, Ann often reuses and repurposes materials in her practice and in doing so interrogates the spaces inhabited by incomplete, damaged, or distressed memories. Ann’s past work has explored the effects of wrapping, exposing, swaddling and setting fire to objects. Initially, Horrocks hired Ann to document her masks. However, in the process of photographing them they realised the power inherent in the masks as photographed objects when they were worn by Horrocks, their maker. In 2023 over 60,000 people saw their exhibition, Effacement, at the Art Gallery of Ballarat for Ballarat’s international Foto biennale. They have since had success Australia-wide, including as finalists in the prestigious Bowness Photographic Art Prize at the Museum of Australian Photography.



KARINA SZTEIN


Nationality: Argentinian


Instagram: @ksztein.art
Website: karinasztein.com


She currently attends the Clinic and Laboratory of Visual Artist Leila Tschopp. Entreveros International Seminar, Carving the Fabric, with Alejandra Mizrahi, Noe Foundation, Kirchner Cultural Center, August 2023. Interdisciplinary Workshop on Creative Processes Project 8, directed by Francisca Kweitel (2023). Tuning Laboratory, Leila Tschopp (2023). Workshop and Work Clinic with the artist Carolina Antoniadis (2017-2022). Watercolor, Drawing, and Chinese Ink Workshop, National University of the Arts, Prof. Ruben Grau, Buenos Aires (2022).
Workshop with the artist Sebastián Masegoza (2022). Abstract Drawing, taught by Prof. Trevor Tubelle, Stanford University, CA (2021). Argentine Geometric Painting, with curator Rodrigo Alonso, MACBA (2021). Contemporary Art Course with the artist María Santi (2021). Construction clinic with Lic. María Carolina Baulo (2021). Writing workshop about the work of art itself with Lic. Laura Casanovas (2021). Artist Book with Carla Beretta (2021). Modern Art taught by Dr. Hugo Petruschansky (Since 2016).



LAURA KATZ RIZZO


Nationality: American


Instagram: @laurakatzrizzo
Website: laurakatzrizzo.com


Laura Katz Rizzo is a dancer, teacher, artist, mother, and witch. Her interdisciplinary work lies at the intersection of physical dance practice, somatic inquiry, and metaphysical meaning-making. Trained in classical ballet, she went on to have a brief career as a classical ballet dancer. Needing to develop an understanding of context, she pursued a BA in History. Katz then went on to receive an Ed.M. in Dance and a Ph.D. in Dance and Gender Studies. These different methodologies have all combined in Katz’s work, which creates embodied pieces that give voice to the multiple, shifting, and transient nature of truth and experience. Her work seeks to generate a sense of symbolic gestural meaning-making through ritualized movement. A theme or motif of connection, integration, and mending has emerged as central to her practice/praxis. The metaphoric language, ritual, and choreography of witchcraft, carried out through the performance of spellcasting, challenges dominant religious, social, and cultural norms that preserve an illusory split between body and mind, real and imagined. For Rizzo artmaking is a rituals process and choreography of world-building; giving meaning and shape to human experience and helping to create and imagine new spaces of transformative power that hold within them the potential to re-imagine, re-order, and re-frame our experience, embodying the spiritual tenet “as above, so below.”



LAURA PATRICIO


Nationality: Spanish


Instagram: @laura.to.the.lighthouse


Laura Lighthouse (b. 1980, Barcelona) is an artist with a strong academic foundation in both philosophy and visual arts. She earned a BFA and a Master’s in Representation of Multicultural Identities from the University of Barcelona. After receiving the Ramon Llull Award for philosophical thought, Laura shifted her focus from research to her growing passion for expressing sociological concepts through visual media. Having lived in London and Berlin, two cities significantly impacted by gentrification, Laura’s recent work explores themes such as globalization, urban displacement, and the reclamation of urban space as a way to build community. These subjects have become central to her artistic practice, which addresses contemporary social issues and the effects of the transformations cities undergo when places become commodities. Laura has participated in several group exhibitions, where her work has sparked discussions on the intersection of social change and community life. At the moment her latest work is displayed in a solo exhibition, which focuses on the growth and development of cities and the need to maintain our humanity. Through her art, Laura continues to examine and interpret the shifting dynamics of urban environments.



LIBBY RAAB


Nationality: American


Instagram: @liesel.scribbles
Website: libbyraabart.com


Libby Raab is an architect and paper weaver based in the San Francisco Bay Area. She works with photo and paper weaving as an exploration of colors, textures, and patterns. Libby believes that, like architecture, weaving is a form of spatial expression and material experimentation. Her work explores the intersection of geometry, digital technology, and nature. By hand weaving original photos that have been digitally altered, Libby aims to create a dialogue between tradition and innovation, organic and synthetic textures, reality, and illusion. Just as Libby believes that good residential architecture is connected, personal, and intimate, she also strives to find personal connections in her artwork. Since beginning her art practice in 2021, Libby’s works have been shown in multiple magazines, a solo gallery show, as well as a museum exhibit. Libby holds a BA in Psychology from DePauw University and a BArch from Boston Architectural College. She has been practicing architecture for over 25 years and established Libby Raab Architecture (LRA) in 2015.



LILIANA ROTHSCHILD


Nationality: Argentinian


Instagram: @liliana.rothschild


Born in Buenos Aires, Argentina, she began her artistic training at the School of Fine Arts, where she acquired the foundational skills that shaped her creative career. Aftre graduating, she expanded her expertise through postgraduate studies in the Escuela Superior Ernesto de La Cárcova in various disciplines such as textile art, printmaking, photography, pre-Columbian art, and material resistance. This process not only enriched her technique but also broadened her cultural perspective. Her travels through the whole American continent deeply influenced her work , instilling a genuine connection to Americanist roots and becoming an essential source of inspiration. Commited to environmental preservation, she found her ideal means of expression in textile art. She experiments with plant-based fibers, especially Luffa which she cultivates herself as a symbol of sustainability and respect for natural processes. Her works seek to harmonize humanity with nature, blending the symbolism of ancestral cultures with organic material. She has received distinguished mentions and awards. Her work has been selected and exhibited in institutions, museums and galleries across more than 20 countries, including Argentina, Uruguay,Peru, Ecuador, Colombia,U.S.A.,Canada, Lithuania, Switzerland, Spain, Germany, Belgium, Slovakia,England, Serbia, France, Portugal, China and Australia. Additionally, they are part of the heritage of prestigious museums and collections as the Janina Mankuté-Marks Museum in Lithuania, The University of South Dakota in the U.S.A., Le Centre des Textiles Contemporains in Montreal, Canada, and the Eduardo Sívori Museum in Buenos Aires. Her work is also featured in the book “Colección de Arte Textil” from the Eduardo Sívori Museum and numerous private collections in Argentina, Uruguay, Ecuador, France, Spain, Germany and Belgium.



LIZ KUENEKE


Nationality: Spanish


Instagram: @liz.kueneke
Website: lizkueneke.com


Born in Chicago in 1976, Liz Kueneke received a dual degree in Fine Arts and French Literature in 1998 from Georgetown University, and a Master of Fine Arts degree from Claremont Graduate University (Los Angeles) in 2001. She has exhibited her art on several continents…in museums, galleries, alternative spaces, and also textile exhibitions such as the Bienal de Aguja e Hilo (Biennial of Needle and Thread) in Barcelona, and Xtant in Palma de Mallorca (2024). In addition to her artistic practice she also curates exhibitions and is an arts educator. She has taught art classes in several universities in the United States, and has given workshops in Spain in several universities to art and architecture students on psychogeography and participatory mapping. She currently teaches workshops and classes in Spain and Switzerland to small groups of students. Her work has been featured in several academic papers in Sweden, Spain, Argentina and Italy, as well as many published art books such as “Hoopla: The Art of Unexpected Embroidery”, “You are Here NYC: Mapping the Soul of the City”, “A Different Kind of Ethnography”, and “Mapping Different Geographies”, among others. Her project “The Urban Fabric” has taken place in Fez (Morocco), Quito (Ecuador), Bangalore (India), Barcelona (Spain), and in New York City (USA). Similar projects have taken place in Los Angeles (USA), Ibiza (Spain), Zurich and Sarnen (Switzerland), Sefrou (Morocco), Riobamba (Ecuador), and Amsterdam (The Netherlands). “The Urban Fabric” was selected to be part of the exhibition for Habitat III, the conference on urban sustainability of The United Nations. This took place in October, 2016 in the Museum of the City in Quito, Ecuador. New projects are planned for 2025 in Hamburg and Rotenburg (Germany) and in Guadalajara (Mexico).



LUIZ QUEIROZ


Nationality: Brazilian


Instagram: @luizqueiroz_fotografiaearte
Website: luizqueiroz.com


Luiz Queiroz, photographer, born in 1962, is from São Paulo, the capital, where he lives and works. He began taking photographs at the age of just 8 with his father’s Pentax Spotmatic 35mm. He studied with renowned photographers in Europe, more specifically in London and Milan, where he lived and worked for a few years. He learned how to set up lighting in studios with Oliviero Toscani, Fabrizio Ferri, and Bert Stern, among others, developing his eye for the subtleties of light, shadows, and angles. He followed paths in advertising, fashion, beauty, and portraits, collaborating with several advertising agencies, magazines, catalogs, photography magazines, and publishers in Brazil and Milan, Italy. He has participated in several group exhibitions, such as the Vitoria de Gasteis International Exhibition on Music in Spain, and four solo exhibitions in places such as the Pinacoteca de São Bernardo do Campo in 2019. As an artist, his first photo was published in the Artrilha magazine in Bauru, SP in 2022.



LUSI BOGDANOWICZ


Nationality: Ukranian


Instagram: @lusiko_wool_studio


Lusi Bogdanowicz was born in Kryvyi Rih, Ukraine, in 1974. She currently lives in Giżycko, Poland. She graduated from Kryvyi Rih Pedagogical University, Faculty of Art and Graphics. From 2000 to 2010, she worked as a designer in an advertising agency. From 2011 to 2020, she worked as a freelance artist, creating soft sculptures and traditional artworks. Since 2021, she has established herself as a contemporary textile artist. She has been participating in exhibitions, creating works in the surrealist genre, and working with textiles and felting. For Bogdanowicz, the primary source of inspiration is the material she works with. Felt, a completely natural and environmentally friendly material, holds significant importance to her. In her works, she combines ancient felting traditions with modern technologies and scientific discoveries. She interprets felt as a living stream flowing through time, from prehistoric eras to the present. She handcrafts felt, utilizing its limitless properties—ranging from sculptures to transparent textile panels. She is a participant in the International Biennial of Paper & Textile Art in Belgium.



LUZ ANGELA CRUZ


Nationality: Colombian


Instagram: @luzacruzdstudio


Luz Ángela Cruz, Colombian Architect, was born in the city of Bogotá in 1970. After obtaining her professional degree, she developed a deep interest in art, exploring various painting and drawing techniques. In his early stages in art, he dedicated himself mainly to oil painting, creating works in which he combined oil with fragments of rusty metal. As time went by, he ventured into other techniques, experimenting with various materials and elements, including, due to their versatility, Yupo Paper and Alcohol Inks. Through experimentation and practice, he designed his own technique, which uses different layers of preformed and thermoprofiled material + alcohol ink, creating multidimensional effects, curves, backgrounds, and voids. His work recreates abstract themes. His works have been exhibited in art galleries in Colombia and Tokyo, and some have been published in art catalogs in the USA.



MANUEL HERNÁNDEZ RUIZ


Nationality: Colombian


Instagram: @i_worship_the_worms
Website: manuelhernandezruiz.com
Represented by: SGR Galería (Bogotá, Colombia)


Manuel Hernández Ruiz is a Colombian visual artist whose work ranges from painting, drawing, poetry, sound, sculpture, and installations to books, publications, prints, and graphic art in general. His work focuses on questions of identity, arcane and contemporary symbolism, Latin Americanity in the midst of globalization, storytelling, and existential absurdity. He is a graduate of the School of Fine Arts of the Pontificia Universidad Javeriana in Bogotá, Colombia. In 2023 and 2024, he created the official image for the massive Latin American music event, Festival Cordillera. He has shown his work in different fairs and exhibitions in Spain, Greece, Colombia, South Africa, France, the United States, among others. Since 2019, Manuel has lived in Athens, Greece. He has recently shown his work in two solo exhibitions in Bogotá, at SGR Gallery, titled Conversations with the Monster, and “The Beast” in Athens at O.Art.Ath. His latest book, Earthworm, was published by PalmPress (Col), in late 2024.



MELODY HESARAKY


Nationality: American


Instagram: @melodyhesaraky
Website: melodyhesaraky.com
Represented by: West Chelsea Contemporary - New York; Decollage Art Space - Istanbul; RAMA - Portugal


“During the process of creation, I became the creator.”


Melody translates her notion of beauty to visual arts, textile design, and wearables. In a world obsessed with speed, her artistic language came to life organically, day by day, with patience, practice, and love towards humanity. She has become recognized as an artist and designer who is building a bridge between the worlds of art, fashion, and music! Melody strives to create magic and atmosphere through her visual storytelling. Her artistic language doesn’t belong to a specific group of people. As a creator who has lived and studied around the world, her work is a bridge between gaps, and her vision smooths out the sharp lines, borders, and boxes. To be able to capture the amount of detail she paints, to tap into the untouched, and translate it to a visual vocabulary, and to let the inspiration flow into her pen, camera, or her body, she had to learn patience. She had to draw and create for hours, days, weeks, and months seamlessly. Like music, Melody’s work is created from the depth of her inner self, and the purest way to express this is by letting the rhythm lead what she draws. Melody’s art communicates the magic of movement in stillness. You can perhaps dream without words and fly through time and space without moving by looking at her art. In a world obsessed with speed, her work invites you to stay still! Take a breath – Stay still – Now you SEE.



NAT


Nationality: Chilean


Instagram: @nat.nataliasanchez


By profession, she is an advertiser; by vocation, a textile artist since 2016. Nat was born as a form of self-healing from an autoimmune disease (rheumatoid arthritis), and also from an endless search to create something creatively innovative, different, and compatible with this new Natalia; a handmade work, stress-free, allowing her to manage her time and go at her own pace. Two worlds that have passionate her since childhood merge: photography and the textile world, leading to an intricate connection between paper and a couple of threads, which, with her two hands, seek a harmonious visual balance between the image and the embroidery, giving rise to the technique of photo-embroidery. She has exhibited her work at the major Chilean art fair ART STGO for 6 years independently, at the Gabriela Mistral Cultural Center, and at ART WEEK for 3 years at the Estación Mapocho Cultural Center. She has also participated in collective exhibitions at the Liquen Cultural Center in Villarrica, the Catholic University of Villarrica, and the Lo Barnechea Cultural Center in Santiago.



NATSUKO HATTORI


Nationality: Japanese


Instagram: @natsuko.hattori
WEBSITE: natsukohattori.net


Exhibited at the Metropolitan Museum of Art and the Wall Street Journal building in NYC, Natsuko Hattori is a celebrated artist known for her innovative use of fabric in sculpture. With over 90 exhibitions across the United States, Europe, Japan, China, and Brazil, her work resonates globally for its warmth, humanity, and transformative themes.
Hattori’s art focuses on fabric as a medium, creating cotton-filled forms that represent the human spirit. Each piece embodies a journey of transformation, wrapping pain and despair into love, comfort, and hope. This approach makes her work both deeply personal and universally relatable. She has collaborated twice with flower artist Masako Jibo at The Metropolitan Museum of Art, blending floral design with her sculptures for immersive exhibits. Her solo exhibitions include prestigious venues like the 92nd Street Y, First Street Gallery, and Waterfall Gallery, showcasing her dynamic range. In 2014, she launched the performance series “Dancer in MocoMoco,” integrating sculpture with dance, music, and video to create spatial art. She has also designed costumes for Broadway performers, demonstrating her versatility. In 2019, her work was exhibited at the Japanese Consulate General’s “Reiwa” bookkeeping hall. In 2020, she was invited as a contracted artist to the Swatch Art Peace Hotel in Shanghai. After returning to Japan, she established her practice domestically while maintaining international collaborations. Hattori’s creations celebrate the resilience of the human spirit, bridging cultural divides and inspiring connection and hope.



NICOLE HAVEKOST


Nationality: American


Instagram: @nicole_havekost
Website: nikimade.com


Nicole Havekost is an artist living and working in Rochester, Minnesota. Her work is varied in media and technique but is linked by her interest in material and process. Nicole is a 2025 Minnesota State Arts Board Creative Individuals Grant recipient and a three-time Minnesota State Arts Board Artist Initiative Grant recipient. Nicole is represented by Dreamsong in Minneapolis, Minnesota, which exhibited her work in a dual presentation at Frieze Los Angeles in 2023. She recently closed her first solo exhibition Penumbra with the gallery, which was reviewed in Sculpture magazine. Nicole’s 2021 solo exhibition Chthonic at the Minneapolis Institute of Art was followed by the two-person Accumulation + Revelation exhibition at the South Bend Museum of Art last year. She is currently working toward a 2025 solo exhibition of large-scale sculpture and drawings at the College of St. Benedict in St. Joseph, Minnesota. She is a national member of the A.I.R. Gallery in Brooklyn, New York. Nicole earned her BFA at the Rhode Island School of Design and her MFA from the University of New Mexico.



OLEG KOSTYUCHENKO


Nationality: Belarusian


Instagram: @olegkost12
WEBSITE: oleg12.com/projects


Oleg Kostyuchenko. Artist. Curator. Born on April 12, 1984, in Republic of Belarus, Minsk. Lives and works in New York. 2009 – graduated from Belarusian State Academy of Arts, Department of Monumental and Decorative Art. Active member of republican and international exhibitions in Belarus, Germany, Sweden, Italy, Armenia. Member of the Belarusian Union of Artists. Related Experience: 2010–2011 Restoration work: The castle complex “Mir” of the 16th - 17th centuries. Historical and cultural value of national importance and world cultural heritage of UNESCO in the Republic of Belarus. The Palace and Park Complex of the Radziwills in Nesvizh in the 16th century. Historical and cultural value of national importance and world cultural heritage of UNESCO in the Republic of Belarus. Resident Programs and Scholarships: 2017 – Montenegro International School of Art and Design “Golden Bee Academy”. Personal Exhibitions: 2019 – Personal exhibition “Approaching Zero”, Berlin, Germany. 2017 – Personal exhibition “ART”, Minsk, DK Gallery. 2016 – Personal exhibition “Sharp Ellipsis. Strategy of Understatement”, Minsk, A&V Art Gallery. 2012 – Personal art exhibition “Inter Face”, Minsk. Group Exhibitions: 2019 – Armenia Art Fair. Personal curatorial project “Talent for Export”, Yerevan, Armenia. 2018 – Exhibition of the association Alfa Arte, Alberobello, Italy. 2018 – Armenia Art Fair 2018, Yerevan, Armenia. 2018 – Exhibition “ArtMinsk”, Minsk. 2018 – Eco-Art Project “Sustainable Development Goals”, Minsk. 2016 – Exhibition “Autumn Salon” with Belgazprombank, Palace of Arts, Minsk. 2015 – Research exhibition project “Dialogue of Epochs. Interpretations”, Gomel. 2015 – Art Panorama, Historical and Archaeological Museum, Grodno. 2015 – “Labyrinth 2” Republican exhibition of the painting section of the Belarusian Union of Artists, Minsk. 2015 – Exhibition “Autumn Salon” with Belgazprombank, Minsk.



OLGA RUDENIA


Nationality: Belarusian


Instagram: @volha_r_art


Olga Rudenia is a Belarusian contemporary artist and graphic designer whose multifaceted career spans several countries and artistic disciplines. Graduating with honors from the Academy of Art in Minsk with a degree in Fine Arts and Design, Rudenia also completed her studies at the A.K. Glebov Minsk College of Art. Her work has been showcased in a variety of venues across Europe and the United States, including exhibitions in Minsk, Vilnius, Lviv, St. Petersburg, Stamford, and New Orleans. Rudenia’s creative journey has been further enriched by her participation in prominent art residencies, such as the International Summer Art Program in Krzyżowa, Poland, and the International Symposium of Ceramics in Sumy, Ukraine. Her art has garnered attention in various publications, including the Hartford Courant, Artania Almanac, and 34mag. A turning point in her career came when she fled Belarus due to the oppressive political climate and sought asylum in the United States. In Stamford, CT, she worked extensively with the Fernando Luis Alvárez Gallery, contributing to exhibitions and serving as a studio assistant. Currently, Rudenia is expanding her horizons at Tulane University’s Newcomb Art Department, participating in both coursework and group exhibitions in New Orleans. Her diverse practice employs oil paint, watercolors, acrylics, and other media to explore and communicate a rich tapestry of ideas, thoughts, and emotions.




OLIVIA BABEL


Nationality: French


Instagram: @oliviababel
Website: oliviababel.com


After studying at the prestigious Ecole Nationale Supérieure des Beaux-arts of Lyon, France, Olivia Babel made a specialization in fiber art at the Ecole Supérieure des Beaux-arts of Angers, France. Specialized in fiber art, she gradually acquired an interest in cartography and the concept of territory through the years. Olivia Babel represents territories in all their forms in order to question our relationship with our environment. She wants to represent geographic area differently from what people are accustomed to.
Her vision of the world is fed by her origins, cultures and travels. To create her artworks, Olivia Babel uses traditional French savoir-faire. All her pieces are handwoven in Lyon, France. She regularly exhibits her artworks in art galleries internationally. In 2018, she participated to the Internatinal Biennial Contextile in Guimarães, Portugal and participated to the Biennial Objet Textile i Roubaix, France. In 2019, she participated to a group show at the gallery Atelier 28, in Lyon, France. In 2022, she presented her artworks at her solo show in Abu Dhabi, UAE, she participated to the international spring art pop up, in Malmö, Sweden and participated to the group show in Habtoor palace, Dubai, UAE. In 2023, she presented a solo show in Dubai and participated to a group show in South Korea. She also works to commissions for special projects. In 2024, she participated to a group show at the CICA museum in South Korea and started a collaboration with the Galerie Glustin in Paris, France.



RENATA MEIRELLES


Nationality: Brazilian


Instagram: @renatameirelles
Website: renatameirellesatelie.com.br


Renata Meireles, born in 1964 in São Paulo, holds a bachelor’s degree in visual arts from FAAP. Her work integrates traditional craft practices with industrial techniques, such as heat bonding, 3D printing, and laser cutting. She carries out research and experimentation in the textile field, creating three-dimensional “aerial threads”, sculptures, and installations that reveal a fine line between lightness and precision. She developed a construction system that uses both positive and negative forms as materials for different works, leaving no fabric waste. Her art has been exhibited in biennials both in Brazil and internationally. Balangandãs is part of the permanent collection of the Museu de Design (MUDE) in Lisbon, and Fios REN is included in the permanent collection of Museu do Objeto Brasileiro. Renata collaborated with Brazilian artist Regina Silveira on the Derrapagem (Skid Marks) project. She is a member of the Sudakas collective and Grupo Broca, through which she organizes exhibitions and seminars. She has learned textile skills from master craftsmen such as João da Fibra, Manuel Ciel, among others. She has lectured at institutions including Universidade Estadual de São Paulo (UNESP), Japan House São Paulo (JHSP), Brazil; Contextile Talks, Sociedade Nacional de Belas Artes (SNBA), Portugal; Museo del Traje, Spain; and New York Textile Month (NYTM), USA. She participated in the jury committee for the Museu da Casa Brasileira (MCB) Design Award in the textile category and co-curated the exhibition TraMares – Um Recorte do Têxtil Brasileiro, alongside Eva Soban and Juan Ojea.



ROXANA CASALE


Nationality: Argentina


Instagram: @roxana.casale
Website: roxanacasale.com


Roxana Casale was born in Argentina. She studied at the National School of Fine Arts in the city of Buenos Aires, training in the areas of engraving and painting. She creates jewelry/objects, engravings, paintings, and art books. She can use languages such as textiles, photography, and any other that helps enrich the poetics she is working on, in order to generate a body of work as broad as possible, that completes her creative experience. Establishing these interdisciplinary links allows her to concentrate on reflecting on the experience of making, seeking to generate a stronger and more emotional narrative and visual interaction between the works and who observes them or carries her pieces. Her objects/jewelry are created with textiles and Japanese papers of various qualities, which, by subjecting them to different transformations and relating them to the human body, seek to open up to questions related to materiality, portability, and functionality, generating questions such as: Objects for the body or bodies for objects? Thus proposing to take the body as an exhibition space to break with the gallery wall that could contain them. The art books and photography also give her the possibility of contextualizing and deepening the metaphor she is interested in communicating. She is interested in narratives that focus on humanitarian, environmental, and social events. These inspire her due to their complexity, conflict, connection, and poetry. Since 2012, she has actively participated in salons and group exhibitions held in various spaces and countries, as well as in physical and digital publications.



SARAH FUENTES & CAMILA SALAMANCA


Nationality: Colombian


Instagram: @sarahfuentes.l
@camisalamanca98/


The creative vision behind “C.R.E.A: The Artist’s Journey” emerges from the collaboration between Camila Salamanca and Sarah Fuentes, two artists dedicated to exploring the intersection of movement and technology in live performance. Camila Salamanca is a seasoned performer with over 16 years of experience in the artistic field. With a background in choreography, stage production, and movement research, she specializes in crafting performances where the body becomes a dynamic tool for artistic expression. Her expertise spans various dance forms, blending tradition with contemporary experimentation to create evocative stage narratives. Sarah Fuentes is a visual artist specializing in real-time audiovisual integration within live performances. Her work delves into the fusion of digital media, interactivity, and stagecraft, redefining the boundaries between performer and visual landscape. By combining movement- responsive visuals with immersive storytelling, she transforms performances into multi-sensory experiences. Together, Camila and Sarah challenge conventional artistic formats, merging the physical and digital realms to create a thought- provoking space where technology and human expression seamlessly coexist. Through “C.R.E.A.”, they reimagine the creative process in motion, challenging conventional stage practices and redefining the relationship between performer, audience, and digital media.



SUSANA OLAIO


Nationality: Portuguese


Instagram: @susana_olaio_studio


Susana Olaio, born in Porto, is a multidisciplinary artist, with academic training that includes a degree and a master’s degree in Fine Arts, with a specialization in Painting, from the Faculty of Fine Arts of the University of Porto. In 2023, Susana was awarded the first prize in the “Artistic Challenge of 250 years” at Santa Casa da Misericórdia de Seia, standing out for her creativity and innovation. Susana exhibits both individually and collectively, with notable appearances in prestigious venues such as: Tree of Virtues Award, Northern Regional Section of the Order of Doctors, Júlio Resende Foundation, Olívia Reis Gallery, Museum of the Faculty of Fine Arts, Soares do Reis Museum, Santa Maria da Feira Plastic Arts Cycle, and XI Biennale of Small Format Painting from Alhos Vedros. Furthermore, she participated in an Artistic Residency in Covilhã, entitled “Industrial/Encounters with the Factory City”. Her contribution to public art is marked by the work donated to Escola Secundária Inês de Castro, in Vila Nova de Gaia, highlighting her commitment to accessibility and artistic education. She has an active presence in academia, participating in congresses, seminars, and publishing scientific articles, enriching the dialogue on contemporary art.



UCA DEA


Nationality: Romanian


Instagram: @uca.dea
Website: tiktok.com/@uca.dea


Uca Dea was born on December 24th, 1986, with an inherent artistic spirit that has guided her throughout her life. While her professional journey led her into the structured world of software engineering, her creativity has always found ways to bloom. Between the ages of 5 and 15, Uca designed clothes for herself and others, working with seamstresses to bring them to life. She also began creative writing in the form of short stories and abstract painting with watercolors, setting the foundation for her artistic sensibilities. During her teenage years, Uca expanded her artistic repertoire. From 15 to 20, she delved into handmade jewelry design and photography, mastering the delicate balance between form and function. Her wearable art pieces combined intricate craftsmanship with bold aesthetics, while her conceptual photography and post-editing revealed a deeper and darker aesthetic. Since the age of 20, Uca has balanced her engineering education and career, while continuing to explore her creative pursuits as a photographer, baker, writer, dancer, and ultimately emerging as a mixed-media artist, primarily focusing on abstract art using cotton thread on wood.



VERÓNICA GARRIDO CORDOVA


Nationality: Chilean


Instagram: @veronicagarridocordova


Verónica is a self-taught Chilean textile and plant fiber artist. After dedicating herself for many years to felting clothing, she found herself, during the pandemic, without raw materials to carry out the work. So, constant observation led her to encounter natural elements, opening up a magical world of infinite resources, a dominant source of inspiration and creativity in the reinvention of materials, capturing the ephemeral nature of the world, and attracting the viewer to a level of relaxation and reflection. A natural collector, curious and eager to record and preserve natural elements. In her creation, natural cycles are respected. Above all, when skeletonizing leaves, she does so without the intervention of chemicals. In her workshop in Santiago de Chile, she creates countless natural symbioses with shells, leaves, seeds, roots, garlic stems, cochayuyos, volcanic stones, etc. In her hands, she creates life out of the tiny, the disposable, what goes unnoticed in a dance giving thanks for the gratuities of life and in a stage that she has called “The Charm of Deterioration.” Her work has been quickly recognized in her country and abroad, being selected in biennials and different citations.












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Almudena Torró


Spanish


É - Panta rei 8, 2021
37,8 x 41,4 x 1,18 in
Credit: Almudena Torró



Almudena Torró’s early stages in sculpture came from a search for expressing emptiness, which led her to experiment with metal mesh until it became her means of expression, transforming and considering sculptural material. Almudena relies on the space-light relationship and on the projected shadows created by the works themselves, which become changing compositional elements.


Her ethics are based on essentiality, and her aesthetics on diversity.


The research project she is working on, and its common thread, focuses on transformation through continuous change. In this, nothing remains the same: energy with constant activity, destroying and creating, as it confronts reality and the passage of time. The sculptures Almudena makes are lived experiences; they are part of her, of her soul. She works with an abstract concept, sculptural construction, combined with chance, with which she corrects and decides spontaneously through dynamic action. Her works have their own language, which makes the viewer feel integrated into them, offering a kaleidoscopic look to generate artistic synergy with the public.


With the Trails series, she expresses the cycle of life and its decisions by entering a world of experiences, sensations, and transformations that lead us to reconnect with the origin of our primal essence. With the Jumble series, she delves into the pain of death and its sense of loss; on one hand, the loss of a loved one, and on the other, the loss of oneself.


The É-Panta rei series combines the experience of the Trails series and the Jumbles series created in recent years, in which she has chosen to experience an inner transformation made from love and freedom, to value the dignity of each individual, feeling that “everything flows, nothing stops” in this vital experience of continuous change. The Æria series is the intimate connection with her essence, as Nietzsche said, air is the very material of our freedom.



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Almudena Torró


Spanish


É – Panta rei Au 23, 2022
55,12 x 46,46 x 28,35 in
Credit: Almudena Torró



Almudena Torró’s early stages in sculpture came from a search for expressing emptiness, which led her to experiment with metal mesh until it became her means of expression, transforming and considering sculptural material. Almudena relies on the space-light relationship and on the projected shadows created by the works themselves, which become changing compositional elements.


Her ethics are based on essentiality, and her aesthetics on diversity.


The research project she is working on, and its common thread, focuses on transformation through continuous change. In this, nothing remains the same: energy with constant activity, destroying and creating, as it confronts reality and the passage of time. The sculptures Almudena makes are lived experiences; they are part of her, of her soul. She works with an abstract concept, sculptural construction, combined with chance, with which she corrects and decides spontaneously through dynamic action. Her works have their own language, which makes the viewer feel integrated into them, offering a kaleidoscopic look to generate artistic synergy with the public.


With the Trails series, she expresses the cycle of life and its decisions by entering a world of experiences, sensations, and transformations that lead us to reconnect with the origin of our primal essence. With the Jumble series, she delves into the pain of death and its sense of loss; on one hand, the loss of a loved one, and on the other, the loss of oneself.


The É-Panta rei series combines the experience of the Trails series and the Jumbles series created in recent years, in which she has chosen to experience an inner transformation made from love and freedom, to value the dignity of each individual, feeling that “everything flows, nothing stops” in this vital experience of continuous change. The Æria series is the intimate connection with her essence, as Nietzsche said, air is the very material of our freedom.



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CURATOR'S STATEMENT


Rodrigo Franzão



The exhibition One World emerges as a profound and necessary reflection on contemporary times, immersed in issues of global interdependence, cultural diversity, and the complex dynamics of globalization. Featuring 41 artists from 19 nationalities and a variety of 88 works, including videos, textiles, performative photographs, works on paper, and mixed media, the exhibition proposes a space for reflection and dialogue about the cultural intersections that define our era. The artistic diversity present in this curation is, in itself, a visual manifesto against the homogenization of cultures, defending the uniqueness of each expression while acknowledging the construction of an interconnected global fabric.


In today’s world, globalization, often viewed through an economic and uniformizing lens, has challenged nations and cultures to rethink what it means to maintain identity while interacting in an increasingly interdependent global system. Classical philosophy, with the work of Plato, already warned us about the value of harmony within diversity. However, we now live in a moment where this harmony seems like a distant ideal, given the rise of nationalism and the tensions between preserving local identities and the forces of a dominant global culture. Plato’s Republic imagines an ideal society where differences, far from confronting each other, contribute to the common good, an ideal still pursued by contemporary debates on how cultural diversity can coexist in a fair and equitable manner.


In line with the issues raised by globalization, contemporary thinkers like Kwame Anthony Appiah and Martha Nussbaum have insisted on the need for an ethical cosmopolitanism that goes beyond the superficial recognition of cultures, aiming instead for coexistence based on empathy and respect for differences. Appiah, in Cosmopolitanism: Ethics in a World of Strangers (2006), offers a perspective of cosmopolitanism that, far from dissolving cultures, proposes a space of coexistence where each cultural identity is respected and preserved, but without abandoning common values that transcend borders. Nussbaum, in The Cosmopolitan Tradition (2019), emphasizes the importance of universal human dignity, suggesting that global ethics must be founded on the recognition of the equality of all individuals, regardless of their origin. One World invites visitors to visually experience this philosophy, reflecting on human dignity and the artistic forms that, throughout history, have given voice to social, political, and environmental issues that cross cultural and geographical boundaries.


Postcolonial criticism, represented by thinkers like Homi K. Bhabha, also provides crucial foundations for understanding the implications of contemporary globalization and the transformation of cultural identities on the global stage. In The Location of Culture (1994), Bhabha discusses the formation of new hybrid identities arising from the encounter between dominant and subaltern cultures, highlighting the tension between preserving local cultures and the pressures for global uniformity. In a context of rising xenophobia, forced migration, and nationalist isolation, the works presented in One World reflect on the possibilities of coexistence and resistance, providing a space of welcome for those identities seeking not only to survive but to flourish in a world that often denies their plurality. This cultural encounter is not presented as a mere fusion, but as an exchange that generates new possibilities for creation and reflection.


The exhibition also takes as its starting point the social and political tensions of our time. The growing global inequality, environmental issues, and forced migration flows demand a new way of looking at art and culture. What we see in the works of One World is a reflection of the current crises that challenge artists to reinvent their visual language to deal with a world in which the lines between the local and global are increasingly blurred. Art, with its capacity to transcend words, becomes a form of resistance and denunciation, but also a path to hope and reconciliation. By bringing to the forefront the lived experiences of individuals and communities in contexts of conflict, exclusion, or adaptation, the works on display remind us of our collective responsibility to act in favor of a more just and humane future.


Ultimately, One World is not just an art exhibition; it is a curatorial platform for critical dialogue about the most urgent issues of our time. By invoking both classical and contemporary philosophies, the exhibition challenges us to consider how we, as individuals and collectives, can contribute to a more harmonious, just, and connected world. In a moment when individualism and nationalism seem to dominate, the art presented here becomes a platform to rethink modes of coexistence, urging us to embrace differences and build together a shared future.



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Camila Leite


Brazilian


Pele, 2024
32 x 20 in
Credit: Camila Leite



Camila Leite has significant poetic, conceptual, and biographical peers within Brazilian contemporary art. She began dedicating herself to art around the age of forty, without formal academic training in the field, starting her artistic practice after motherhood. This biographical familiarity is shared with the Japanese-Brazilian artist Tomie Ohtake. In their poetics, both embrace the gesture of freedom, working with their hands in a body/mind harmony, becoming meditative in continuous repetitions: the brush that moves back and forth, the needle that punctures and returns. It’s a dialogue with informal abstractionism, a connection with the unconscious, emotions, and an association with elements of nature.


Amélia Toledo is another artist with whom Camila shares characteristics. Both draw inspiration from living beings, from the microscopic ones to the vastness of the ocean.


Texture, contour, and pictorial richness are three of the main features found in both artists, who have a sensitivity to the flavors of colors and the microcosm of each being.
Camila Leite’s familiarity with Ohtake and Toledo lies in their way of seeing images, in how they read worlds. Thus, her work reveals a bridge capable of connecting embroidery and painting, a pictorial thinking materialized in a textile form.


As for textile art, embroidery has been present in the artist’s life from an early age, taught by the matriarchs of her family. Camila’s works showcase different techniques of varying complexity levels, all passed down through generations as traditional knowledge. While her technical skill and diversity are undeniably impressive, her artistic production goes beyond manual ability. For all these reasons, Camila Leite’s work allows one to go beyond a reading confined to its textile quality, which is initially apparent to the naked eye. It is her sensitive capacity that makes her production immediately captivating. Her roots are strong and deep, allowing her production to be fruitful.
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Camila Leite


Brazilian


Portico, 2024
29 x 47 in
Credit: Camila Leite



Camila Leite has significant poetic, conceptual, and biographical peers within Brazilian contemporary art. She began dedicating herself to art around the age of forty, without formal academic training in the field, starting her artistic practice after motherhood. This biographical familiarity is shared with the Japanese-Brazilian artist Tomie Ohtake. In their poetics, both embrace the gesture of freedom, working with their hands in a body/mind harmony, becoming meditative in continuous repetitions: the brush that moves back and forth, the needle that punctures and returns. It’s a dialogue with informal abstractionism, a connection with the unconscious, emotions, and an association with elements of nature.


Amélia Toledo is another artist with whom Camila shares characteristics. Both draw inspiration from living beings, from the microscopic ones to the vastness of the ocean.


Texture, contour, and pictorial richness are three of the main features found in both artists, who have a sensitivity to the flavors of colors and the microcosm of each being.
Camila Leite’s familiarity with Ohtake and Toledo lies in their way of seeing images, in how they read worlds. Thus, her work reveals a bridge capable of connecting embroidery and painting, a pictorial thinking materialized in a textile form.


As for textile art, embroidery has been present in the artist’s life from an early age, taught by the matriarchs of her family. Camila’s works showcase different techniques of varying complexity levels, all passed down through generations as traditional knowledge. While her technical skill and diversity are undeniably impressive, her artistic production goes beyond manual ability. For all these reasons, Camila Leite’s work allows one to go beyond a reading confined to its textile quality, which is initially apparent to the naked eye. It is her sensitive capacity that makes her production immediately captivating. Her roots are strong and deep, allowing her production to be fruitful.
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Cath Orain


French


Ready Aim Flowers, 2020
12 x 25.5 in
Credit: Catherine ORAIN


Trained in haute couture embroidery techniques such as needlepoint and tambour embroidery (Lunéville embroidery) at the Lesage artistic embroidery school and Duperré School of Applied Arts in Paris, I like to combine manual and digital techniques in my textile creations, favoring the use of bio-sourced or reused materials.


I would like to develop innovative projects in the field of embroidery, using atypical materials (paper, metal, wood) in addition to textiles. To this end, I have trained in various graphic software programs such as Illustrator, Photoshop, and Fusion 3D, graduated in textile design in 2023, and learned to use digital tools (laser cutter, 3D printer) that enable me to design my own personalized supplies (paper and wood sequins...) and experiment with new textile manipulations using the additive manufacturing process.


As a set painter, I like to combine other techniques such as watercolor or copper and silver leaf in my textile productions. I also create designs for patterns. My favorite themes are inspired by nature, particularly flora and fauna, sometimes ecologically engaged, sometimes poetic.




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Cath Orain


French


Since time is running out, 2021
13 x 18 in
Credit: Catherine ORAIN


Trained in haute couture embroidery techniques such as needlepoint and tambour embroidery (Lunéville embroidery) at the Lesage artistic embroidery school and Duperré School of Applied Arts in Paris, I like to combine manual and digital techniques in my textile creations, favoring the use of bio-sourced or reused materials.


I would like to develop innovative projects in the field of embroidery, using atypical materials (paper, metal, wood) in addition to textiles. To this end, I have trained in various graphic software programs such as Illustrator, Photoshop, and Fusion 3D, graduated in textile design in 2023, and learned to use digital tools (laser cutter, 3D printer) that enable me to design my own personalized supplies (paper and wood sequins...) and experiment with new textile manipulations using the additive manufacturing process.


As a set painter, I like to combine other techniques such as watercolor or copper and silver leaf in my textile productions. I also create designs for patterns. My favorite themes are inspired by nature, particularly flora and fauna, sometimes ecologically engaged, sometimes poetic.




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Coefficiente G


Italian


Biophilia Antropocentripeta, 2020
38 x 38 x 1.2 in
Credit: Silvia Frigo


He believes that we do not truly own our ideas or intuitions, but they own us. Just as matter itself uses us to play with matter, it uses some people as tools and brushes to give physical form to its ideas. Rather than properly following artistic research, Gaetano is inspired by signals and coincidences that can be read in the surrounding matter, giving him the impression that sometimes it is ideas that are researching him.


Thanks to this source, he came to create with the golden ratio and plants as a way to have a positive impact on minds that need to find a state of calm, given that his belief is that every living being is connected in an extended organism that’s probably an attempt to heal itself. The shapes of plants and animals coming from nature touch deep chords in our DNA and instinct, acting as a key to open certain emotions.


The use of the golden proportion, on the other hand, transmits the sensation of harmony in a very direct but unconscious way. Some works, in their geometric constructions, are intended more as a natural technology to give pleasure to an environment than to be understood by the human eye.



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Coefficiente G


Italian


Way Of The Swan, 2021
37 x 37 x 1,2 in
Credit: Silvia Frigo


He believes that we do not truly own our ideas or intuitions, but they own us. Just as matter itself uses us to play with matter, it uses some people as tools and brushes to give physical form to its ideas. Rather than properly following artistic research, Gaetano is inspired by signals and coincidences that can be read in the surrounding matter, giving him the impression that sometimes it is ideas that are researching him.


Thanks to this source, he came to create with the golden ratio and plants as a way to have a positive impact on minds that need to find a state of calm, given that his belief is that every living being is connected in an extended organism that’s probably an attempt to heal itself. The shapes of plants and animals coming from nature touch deep chords in our DNA and instinct, acting as a key to open certain emotions.


The use of the golden proportion, on the other hand, transmits the sensation of harmony in a very direct but unconscious way. Some works, in their geometric constructions, are intended more as a natural technology to give pleasure to an environment than to be understood by the human eye.



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Dagmar Lucia Odoriz


Argentinian


El baño de las Diosas, 2024
24 x 60 x 1 in
Credit: Dagmar Lucia Odoriz


Dagmar Odoriz is an abstract artist whose work stems from a deep connection with the rural environment, where vastness and isolation serve as a constant source of inspiration. Each piece begins with a period of reflection after visiting a place, whether new or familiar, allowing the emotions and sensitivity of the moment to guide her artistic interpretation.


She works with natural materials such as plaster, charcoal, graphite, and Chinese ink, applied on rigid supports that she manually textures to create depth and a tactile starting point. From this initial process, images spontaneously emerge as diluted ink stains, which later evolve into defined forms through multiple layers of ink and charcoal. Her palette focuses on shades of gray, meticulously developed to construct the dimension and atmosphere of her compositions.


Dagmar’s creative process combines technical skill with emotional depth, achieving a balance between spontaneity and control. Each piece challenges her to focus on the most meaningful details while resisting the urge to add endless nuances. Through her art, she aims to invite viewers to pause, connect, and reflect on the emotions and landscapes embedded in everyday life.




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Dagmar Lucia Odoriz


Argentinian


Llegando despacito, 2024
24 x 60 x 1 in
Credit: Dagmar Lucia Odoriz


Dagmar Odoriz is an abstract artist whose work stems from a deep connection with the rural environment, where vastness and isolation serve as a constant source of inspiration. Each piece begins with a period of reflection after visiting a place, whether new or familiar, allowing the emotions and sensitivity of the moment to guide her artistic interpretation.


She works with natural materials such as plaster, charcoal, graphite, and Chinese ink, applied on rigid supports that she manually textures to create depth and a tactile starting point. From this initial process, images spontaneously emerge as diluted ink stains, which later evolve into defined forms through multiple layers of ink and charcoal. Her palette focuses on shades of gray, meticulously developed to construct the dimension and atmosphere of her compositions.


Dagmar’s creative process combines technical skill with emotional depth, achieving a balance between spontaneity and control. Each piece challenges her to focus on the most meaningful details while resisting the urge to add endless nuances. Through her art, she aims to invite viewers to pause, connect, and reflect on the emotions and landscapes embedded in everyday life.




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Dorota Wiśniewska


Polish


On the Corner, 2023
17,72 x 11,02 x 1,18 in
Credit: Dorota Wiśniewska


Dorota Wiśniewska lives and works in Tarnów, Poland. Her work primarily focuses on artistic textiles, especially the creation of tapestries that capture moments in motion from the world around her. Each fragment of reality is filtered through her unique way of perceiving the world and her sensitivity, then transposed into the language of textile. Her works are snapshots—records of her vision of the world, encompassing various places, situations, people, and nature.


In her works, the artist seeks to capture the multi-layered nature of reality—both literally and metaphorically. Each tapestry is an attempt to preserve a moment in motion, which, through the texture of the fabric, tells a story of something fleeting yet deeply present. The textile becomes a medium for memories, emotions, and daily experiences.


All her works are created in her own studio, where she designs and handcrafts textiles on weaving frames, primarily using the tapestry technique. She works with linen, wool, and cotton yarns, with a small amount of synthetic and silk fibers, which give her pieces textural depth and variety. The artist blends traditional weaving techniques with a modern approach, creating works that possess both a contemporary character and roots in the rich history of artistic textiles.


Each of her tapestries is not just a work of art but an invitation to reflect on how art can reveal the multi-faceted nature of the world and preserve fleeting moments in material form.






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Dorota Wiśniewska


Polish


Palermo Alley, 2023
16,54 x 12,20 x 1,18 in
Credit: Dorota Wiśniewska


Dorota Wiśniewska lives and works in Tarnów, Poland. Her work primarily focuses on artistic textiles, especially the creation of tapestries that capture moments in motion from the world around her. Each fragment of reality is filtered through her unique way of perceiving the world and her sensitivity, then transposed into the language of textile. Her works are snapshots—records of her vision of the world, encompassing various places, situations, people, and nature.


In her works, the artist seeks to capture the multi-layered nature of reality—both literally and metaphorically. Each tapestry is an attempt to preserve a moment in motion, which, through the texture of the fabric, tells a story of something fleeting yet deeply present. The textile becomes a medium for memories, emotions, and daily experiences.


All her works are created in her own studio, where she designs and handcrafts textiles on weaving frames, primarily using the tapestry technique. She works with linen, wool, and cotton yarns, with a small amount of synthetic and silk fibers, which give her pieces textural depth and variety. The artist blends traditional weaving techniques with a modern approach, creating works that possess both a contemporary character and roots in the rich history of artistic textiles.


Each of her tapestries is not just a work of art but an invitation to reflect on how art can reveal the multi-faceted nature of the world and preserve fleeting moments in material form.






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EVELYN POLITZER


Uruguayan


Every Drop Counts, 2021
120x180x40in
Credit: Evelyn Politzer


Evelyn Politzer is a visual artist focused on conveying nature’s plea for interconnectedness through yarn, thread, and fabric. Using traditional textile methods like knitting, weaving, and embroidery, she mainly works with soft hand-dyed fibers to create unconventional pieces ranging from small two-dimensional tapestries to monumental sculptural forms. In addition to the beauty and fragility of the natural environment, womanhood and motherhood are also recurring concepts of Politzer’s work.


She explores materials, texture and color to connect these ideas and bring them to life with her hands and heart. Politzer’s practice has roots in her native land of Uruguay, a country where sheep outnumber human inhabitants, and where wool and other natural fibers continue to be an essential tool for people’s livelihood, especially women.


The relationship between the fibers she works with and the place where she was born evokes the comfort of belonging, no matter where she is in the world. Over the last several years, her art practice has evolved outside of the studio, allowing her to foster community and create a platform for others to share their textile art journey. Together with two other local artists, Politzer created FAMA-Fiber Artists Miami Association- with the mission to educate and advance fiber arts as a contemporary art form. More than 200 local and international members have joined FAMA as of 2025



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EVELYN POLITZER


Uruguayan


Every Drop Counts, 2021
120x180x40in
Credit: Evelyn Politzer


Evelyn Politzer is a visual artist focused on conveying nature’s plea for interconnectedness through yarn, thread, and fabric. Using traditional textile methods like knitting, weaving, and embroidery, she mainly works with soft hand-dyed fibers to create unconventional pieces ranging from small two-dimensional tapestries to monumental sculptural forms. In addition to the beauty and fragility of the natural environment, womanhood and motherhood are also recurring concepts of Politzer’s work.


She explores materials, texture and color to connect these ideas and bring them to life with her hands and heart. Politzer’s practice has roots in her native land of Uruguay, a country where sheep outnumber human inhabitants, and where wool and other natural fibers continue to be an essential tool for people’s livelihood, especially women.


The relationship between the fibers she works with and the place where she was born evokes the comfort of belonging, no matter where she is in the world. Over the last several years, her art practice has evolved outside of the studio, allowing her to foster community and create a platform for others to share their textile art journey. Together with two other local artists, Politzer created FAMA-Fiber Artists Miami Association- with the mission to educate and advance fiber arts as a contemporary art form. More than 200 local and international members have joined FAMA as of 2025



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Elisa Lutteral


Argentinian-american


The Braided Gloves_2023
1’ 59’’
Film: Filming and Editing: Shane Singh
Audio: Venoldo Terreus
Filming & Technical Assistance: Adison Irby
BTS & Technical Assistance: Aubrey Wipfli
Performers: Emma Andre, Lluca Huatuco, Sarah Kramer and Belu-Olisa Pierre Sarkissian


Elisa Lutteral investigates the social and political constructs that shape power dynamics, examining their influence on human actions and connections to the more-than-human world. Her work explores how form generates meaning, engaging with surfaces, skins, membranes, and contours to challenge the boundaries imposed by capitalistic and patriarchal narratives surrounding land and gender.


Lutteral is deeply drawn to social behavior and collective consciousness. Her installations function as tools for exploration, activated through encounters and performances, often incorporating performance film. Recently, she has begun experimenting with durational performance, using her body as a medium to intertwine elements of the environment and time—both essential materials in her practice. These works reflect her interest in how artistic practice can operate as a method of consciously and unconsciously engaging with life, as well as a vehicle for personal and collective transformation.


Her process is rooted in an ongoing dialogue with her surroundings. She gathers, forages, collects, and experiments with materials that resonate with themes of ecological collapse, collective trauma, and transformation. This includes ritualistically saving hair after every haircut and photographing singular gloves found on the streets. Photography and film have recently become integral to her daily recording practice, providing new ways to map connections.






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Elisa Lutteral


Argentinian-american


The braided hands, 2023
20 x 145 in
Credit: Valentina Galeazzi


Elisa Lutteral investigates the social and political constructs that shape power dynamics, examining their influence on human actions and connections to the more-than-human world. Her work explores how form generates meaning, engaging with surfaces, skins, membranes, and contours to challenge the boundaries imposed by capitalistic and patriarchal narratives surrounding land and gender.


Lutteral is deeply drawn to social behavior and collective consciousness. Her installations function as tools for exploration, activated through encounters and performances, often incorporating performance film. Recently, she has begun experimenting with durational performance, using her body as a medium to intertwine elements of the environment and time—both essential materials in her practice. These works reflect her interest in how artistic practice can operate as a method of consciously and unconsciously engaging with life, as well as a vehicle for personal and collective transformation.


Her process is rooted in an ongoing dialogue with her surroundings. She gathers, forages, collects, and experiments with materials that resonate with themes of ecological collapse, collective trauma, and transformation. This includes ritualistically saving hair after every haircut and photographing singular gloves found on the streets. Photography and film have recently become integral to her daily recording practice, providing new ways to map connections.




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Frances Palgrave


German


Greetings from Abroad, 2025
43.31 x 33.46 in
Credit: Frances Palgrave


Frances Palgrave’s mixed media collage “Greetings from abroad” (2025) is about the integrative power of textile art and analogue networking in the digital age and increasing uncertain times. Textile techniques like postcards connect people worldwide - in all cultures textiles are manufacuted to dress, keep warm or to make art. The reused cards tell stories of journeys and special experiences that the senders want to share with the recipients and at the same time reflect the need to connect and exchange.


The worldmap consists of postcards, collected over the years by the artist, her family and friends as well as sent by postcrossers, whose growing community randomly sends postcards to each other around the world no matter what background they come from. Each card in the artwork marks the location on the map where it was dispatched, is connected by thread and sewn on organza. With their motifs and greetings, the cards form a new materiality that connects people around the globe with a soft spot for analogue mail.


The cards with their short notes also stand for their senders’ openness to travel and explore new territories as well as sharing happy experiences and thoughts with their loved ones at home or penpals worldwide. Some of these notes from abroad even tell stories of lifelong friendships and were kept and preserved over a reassuringly long period of time.


The dicarded cards, which often disappear into a drawer and are forgotten after their long postal journey and a single reading, also gain a temporal dimension, as past and present come together in one work. It is often the same people who like to send and write poscards over the years.





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GIULIA BERRA


Italian


Cupole, 2014
7 x 11 x 12 in
Credit: Giulia Berra


Contemporary Art loves great dimensions, interactions, display, grandeur. Giulia Berra saves for her another glance. Empathic, close, tactile. Insect wings, feathers, galls, chrysalises: little fragile things, to be observed with respect, without touching. Her artistic research deals mainly with leftovers and residual elements, found abandoned on the ground and patiently collected over several months. The development of her works is determined by her capability of reading various territories, by chance and the natural availability of materials.


Therefore there are no resources, waste and refuse, with clear references to the social, economical and environmental sphere. The poetry of these little things lies in their specificity and dignity, connected to humanistic narrations and a horizontal and not hierarchical glance. The elements appear in their essence, like delicate drawings in space. It’s a familiar, but not intimate dimension, like if we returned to the dawn of Natural Sciences asking ourselves questions in a different way.


Berra has a particular focus on spoils and molting as a metaphor of psychophysical change and of flying as alternative and utopian dimension. According to her, nature is the starting point to make visions and metaphors about the contemporary period. Her artistic research investigates empty spaces, mutations, migrations, fluctuations, individuality and collectivity, trying to understand their borders. She studies processes, biological cycles and their interactions, their limits.



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GIULIA BERRA


Italian


Untitled, 2016
19 x 13 x 12,4 in
Credit: Giulia Berra


Contemporary Art loves great dimensions, interactions, display, grandeur. Giulia Berra saves for her another glance. Empathic, close, tactile. Insect wings, feathers, galls, chrysalises: little fragile things, to be observed with respect, without touching. Her artistic research deals mainly with leftovers and residual elements, found abandoned on the ground and patiently collected over several months. The development of her works is determined by her capability of reading various territories, by chance and the natural availability of materials.


Therefore there are no resources, waste and refuse, with clear references to the social, economical and environmental sphere. The poetry of these little things lies in their specificity and dignity, connected to humanistic narrations and a horizontal and not hierarchical glance. The elements appear in their essence, like delicate drawings in space. It’s a familiar, but not intimate dimension, like if we returned to the dawn of Natural Sciences asking ourselves questions in a different way.


Berra has a particular focus on spoils and molting as a metaphor of psychophysical change and of flying as alternative and utopian dimension. According to her, nature is the starting point to make visions and metaphors about the contemporary period. Her artistic research investigates empty spaces, mutations, migrations, fluctuations, individuality and collectivity, trying to understand their borders. She studies processes, biological cycles and their interactions, their limits.



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Guillermina Baiguera


Argentinian


Alimaña, 2024
20 x 16 in
Credit: Guillermina Baiguera


Guillermina Baiguera (General Villegas, Argentina) is a visual artist and teacher.
Her practice and research have largely focused on embroidery, and she is especially interested in bringing embroidery work to challenging or critical situations.


Based on the desire and fascination that arise from a personal experience, Guillermina expresses the need to build an archive of the memory of those unverbalized aspects of grief. With a surreal and subtle air, she tries to approach the mental images that appear to her, exposing the disturbing strangeness produced by the displacement of something that was familiar in its original context, showing that everything is tinged with beauty and terror.


In addition to working with thread and needle, her instruments for operating on the world, she experiments with organic materials, such as human hair, using textile techniques to create works that speak to us about issues as immaterial as fear, pain, regeneration, or the passage of time.



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Guillermina Baiguera


Argentinian


Fantasías Anni, 2024
27 x 13 in
Credit: Guillermina Baiguera


Guillermina Baiguera (General Villegas, Argentina) is a visual artist and teacher.
Her practice and research have largely focused on embroidery, and she is especially interested in bringing embroidery work to challenging or critical situations.


Based on the desire and fascination that arise from a personal experience, Guillermina expresses the need to build an archive of the memory of those unverbalized aspects of grief. With a surreal and subtle air, she tries to approach the mental images that appear to her, exposing the disturbing strangeness produced by the displacement of something that was familiar in its original context, showing that everything is tinged with beauty and terror.


In addition to working with thread and needle, her instruments for operating on the world, she experiments with organic materials, such as human hair, using textile techniques to create works that speak to us about issues as immaterial as fear, pain, regeneration, or the passage of time.



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Ingra Maia


Brazilian


Apartamento 104, 2024
31 x 16 x 0.2 in
Credit: Ingra Lopes Maia


Ingra Maia is a Brazilian textile artist, graduated in Clothing (SENAI-SP - 2013) and in Sciences and Humanities (Universidade Federal do ABC - 2017), who works with traditional and ancestral textile techniques such as hand weaving and natural dyes.


In 2017, she created Péplos (@peplos_), a brand of clothing and handcrafted accessories made with the same textile techniques. Her goal is to bring more meaning to clothing and more environmental consciousness for those who can experience wearing a piece that is made like it was in past times, handcrafted and made one by one. The sensorial aspect of the textile objects and their particularities also interests the artist, as she proposes the idea and symbolism of using cloths as emotional and sensorial shelters, through touch.


In 2022, she developed a black natural ink with homegrown berries and other natural plants from her region and started a small series of paintings with geometric figures on handwoven textiles, which is her current artistic exploration.


She is interested in bringing contemporary features to each of the techniques she works with, thus keeping them, at the same time, updated in the present time and ancestral in their essence. In her work, she is also particularly concerned with the valorization of local materials and the preservation of Latin American textile techniques. She lives and develops her work in São Paulo, Brazil.



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Ingra Maia


Brazilian


Labirinto, 2024
33 x 14 x 0.2 in
Credit: Ingra Lopes Maia


Ingra Maia is a Brazilian textile artist, graduated in Clothing (SENAI-SP - 2013) and in Sciences and Humanities (Universidade Federal do ABC - 2017), who works with traditional and ancestral textile techniques such as hand weaving and natural dyes.


In 2017, she created Péplos (@peplos_), a brand of clothing and handcrafted accessories made with the same textile techniques. Her goal is to bring more meaning to clothing and more environmental consciousness for those who can experience wearing a piece that is made like it was in past times, handcrafted and made one by one. The sensorial aspect of the textile objects and their particularities also interests the artist, as she proposes the idea and symbolism of using cloths as emotional and sensorial shelters, through touch.


In 2022, she developed a black natural ink with homegrown berries and other natural plants from her region and started a small series of paintings with geometric figures on handwoven textiles, which is her current artistic exploration.


She is interested in bringing contemporary features to each of the techniques she works with, thus keeping them, at the same time, updated in the present time and ancestral in their essence. In her work, she is also particularly concerned with the valorization of local materials and the preservation of Latin American textile techniques. She lives and develops her work in São Paulo, Brazil.



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Jason Kriegler


American


FAMILY PRESERVATION, 2024
65.7 x 62.9 inches
Credit: Jason Kriegler


Kriegler’s linen, cloth & paper embroidery is refined without yielding to the geometric abstraction that characterizes the work of so many minimalist painters from the 20th century to the present day. His compo-
sitions suggest organic and biological forms, as well as abstract exteriors, but they can also experiment purely as combinations of shapes, lines, and textures. Despite their simplicity, they have a captivating quality that
rewards a careful look that reveals the complexity of hand embroidery, enlivened by a sense of depth that only seems to grow with continuous examination.


While in art school in the mid-80’s, Kriegler was intrigued by the rising textile artists, contemporary art and modernism that were changing the art scene; especially Bauhaus and Black Mountain College where new ideas and techniques were being challenged and
created. Influences of his work were and are abstract modernist artists; Dubuffet, Alberto Burri, Anni Albers, Bryce Marden, Oscar Murillo, Anslem Keifer, Franz Kline, Helen Frankenthaler, Sheila Hicks, Ruth Asawa, and
Lissy Funk to name a few.


These artists influenced his work and helped push the boundaries of what textile art or fiber art is. Painting and textiles can both be intertwined, infused. ‘Not the norm’ of traditions. i.e., hand embroidery into different mediums rather than traditional fabric. He began as a traditional painter then made the transition
to mixed-media, using found objects and materials in the early 90’s. Over the past 10 years, he began using embroidery or stitching into different mediums to create modern
contemporary dimensional forms based on his experiences traveling and learning about techniques old and new through the making of textiles.



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Jason Kriegler


American


METAPHORS OF THE PAST, 2024
65.7 x 62.9 inches
Credit: Jason Kriegler


Kriegler’s linen, cloth & paper embroidery is refined without yielding to the geometric abstraction that characterizes the work of so many minimalist painters from the 20th century to the present day. His compo-
sitions suggest organic and biological forms, as well as abstract exteriors, but they can also experiment purely as combinations of shapes, lines, and textures. Despite their simplicity, they have a captivating quality that
rewards a careful look that reveals the complexity of hand embroidery, enlivened by a sense of depth that only seems to grow with continuous examination.


While in art school in the mid-80’s, Kriegler was intrigued by the rising textile artists, contemporary art and modernism that were changing the art scene; especially Bauhaus and Black Mountain College where new ideas and techniques were being challenged and
created. Influences of his work were and are abstract modernist artists; Dubuffet, Alberto Burri, Anni Albers, Bryce Marden, Oscar Murillo, Anslem Keifer, Franz Kline, Helen Frankenthaler, Sheila Hicks, Ruth Asawa, and
Lissy Funk to name a few.


These artists influenced his work and helped push the boundaries of what textile art or fiber art is. Painting and textiles can both be intertwined, infused. ‘Not the norm’ of traditions. i.e., hand embroidery into different mediums rather than traditional fabric. He began as a traditional painter then made the transition
to mixed-media, using found objects and materials in the early 90’s. Over the past 10 years, he began using embroidery or stitching into different mediums to create modern
contemporary dimensional forms based on his experiences traveling and learning about techniques old and new through the making of textiles.



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Joan Brenda Hunt


Dutch


Home, 2016
157,5 x 90,5 x 2 in
Credit: Joan Brenda Hunt


Everyday life, social themes like diversity and acceptance, are important drivers that lead her. When she was little, she wasn’t happy with her dark hair and being different. Now, she fosters diversity and tells us that we should celebrate it instead of letting it divide us, give it attention instead of ignore that it’s there. Striving for a better world, maybe that’s why she loves the use of colors so much: it can do magic and she applies it to make the object more lovable despite the harsh message it sometimes contains. Still, in the core of her work you will find love for people
and a longing for a better, peaceful world.
After all the negative discussion between different cultures and religions, she wants to tell us about the other side by the colorful wall hanging ‘In Cloth We Trust’, a textile work about unity in diversity. Made out of used cotton tea towels that were donated by people of different cultures. The inner part that reflects non-western world and the outer part that reflects western world are foremost interesting because they are captured in one piece. The towels stand for ordinary things cultures have in common. “What other things that we overlook, unite us more than we
realize?”
Another piece ‘Home’ with its nice bright green artificial turf and its imprint of a homeless person, is also about contrast, characteristic for her work. An expression of her horrification of what we as a well-to-do civil society can’t seem to accomplish: taking care of the most vulnerable. At least in Amsterdam, numerous of them have a hard time claiming their social rights, having to prove where they stay in spite of their being homeless. Art can still work where words aren’t heard anymore, is her hope while trying to keep the eyes of the beholder just a little bit longer, having time to reflect. Being a multimedia artist, and unfaithful to whatever rule in artistic form or principles, Joan Brenda chooses form and media intuitively, all are subservient to the content she wants to convey. As a result, her work is very diverse.



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Joan Brenda Hunt


Dutch


In Cloth We Trust, 2023
118 x 79 x 2 in
Credit: Joan Brenda Hunt


Everyday life, social themes like diversity and acceptance, are important drivers that lead her. When she was little, she wasn’t happy with her dark hair and being different. Now, she fosters diversity and tells us that we should celebrate it instead of letting it divide us, give it attention instead of ignore that it’s there. Striving for a better world, maybe that’s why she loves the use of colors so much: it can do magic and she applies it to make the object more lovable despite the harsh message it sometimes contains. Still, in the core of her work you will find love for people
and a longing for a better, peaceful world.
After all the negative discussion between different cultures and religions, she wants to tell us about the other side by the colorful wall hanging ‘In Cloth We Trust’, a textile work about unity in diversity. Made out of used cotton tea towels that were donated by people of different cultures. The inner part that reflects non-western world and the outer part that reflects western world are foremost interesting because they are captured in one piece. The towels stand for ordinary things cultures have in common. “What other things that we overlook, unite us more than we
realize?”
Another piece ‘Home’ with its nice bright green artificial turf and its imprint of a homeless person, is also about contrast, characteristic for her work. An expression of her horrification of what we as a well-to-do civil society can’t seem to accomplish: taking care of the most vulnerable. At least in Amsterdam, numerous of them have a hard time claiming their social rights, having to prove where they stay in spite of their being homeless. Art can still work where words aren’t heard anymore, is her hope while trying to keep the eyes of the beholder just a little bit longer, having time to reflect. Being a multimedia artist, and unfaithful to whatever rule in artistic form or principles, Joan Brenda chooses form and media intuitively, all are subservient to the content she wants to convey. As a result, her work is very diverse.



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Julia Kiryanova


Dutch


Bathing ceremony, 2022
104 x 78 x 0.7 in
Credit: Julia Kiryanova


Julia Kiryanova’s work spans tapestry, painting, and performance, drawing inspiration from mythology and storytelling. She weaves her own narratives, blending ancient myths with contemporary life experiences. Storytelling plays a central role in her practice, shaping events, exploring human connections, delving into life’s mysteries, and reflecting personal growth.


Each piece Kiryanova creates bridges the gap between reality and unseen mystical realms, offering a transformative journey where fantasy and reality meet. Her work explores inner and outer conflicts, addressing the contradictions inherent in identity. Viewing her practice as a form of spiritual craftsmanship, she uses performance to provoke thought and invite introspection, balancing freedom of expression with vulnerability.


Her fascination with textiles stems from their historical and cultural significance, as well as their ability to convey a sense of continuity across time and space. Kiryanova views tapestry as a dynamic medium—both ancient and modern—capable of communicating powerful messages across cultures and generations.



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Julia Kiryanova


Dutch


Celebration, 2021
104 x 78 x o,7 in
Credit: Carly Wollaert


Julia Kiryanova’s work spans tapestry, painting, and performance, drawing inspiration from mythology and storytelling. She weaves her own narratives, blending ancient myths with contemporary life experiences. Storytelling plays a central role in her practice, shaping events, exploring human connections, delving into life’s mysteries, and reflecting personal growth.


Each piece Kiryanova creates bridges the gap between reality and unseen mystical realms, offering a transformative journey where fantasy and reality meet. Her work explores inner and outer conflicts, addressing the contradictions inherent in identity. Viewing her practice as a form of spiritual craftsmanship, she uses performance to provoke thought and invite introspection, balancing freedom of expression with vulnerability.


Her fascination with textiles stems from their historical and cultural significance, as well as their ability to convey a sense of continuity across time and space. Kiryanova views tapestry as a dynamic medium—both ancient and modern—capable of communicating powerful messages across cultures and generations.



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KARENNE ANN
& HEATHER HORROCKS


Australian


She the Effaced, 2023
47.24 x 31.5 in
Credit: Karenne Ann and Heather Horrocks


These anthropomorphic portrayals of an old woman wearing ineffective masks and armour express the frustration and anger of two artists from regional Australia who collaborate as ISOyoh. Photographer Karenne Ann uses close focus to capture Heather Horrocks wearing works she has crocheted from redundant VHS film tape, trying to save the planet one cassette at a time. ISOyoh challenges the capitalist model of the solitary ‘hero’ artist. They believe art has the power to make us stop and think about the terrible impact of war, misogyny, waste and greed. They bring wisdom and post-menopausal power using just a camera and a story-telling medium that’s heading to landfill.


SHE THE EFFACED wears a WW1 gas mask that hides her old skin and her exasperation about man’s inhumanity to man. In WWI there were never enough masks because manufacturing weapons too took priority over medicines and life-saving devices. It still does. As a mother and grandmother, she knows why Bob Dylan wrote in Masters of War: “You’ve thrown the worst fear that can ever be hurled, fear to bring children Into the world” and she despairs.


SHE THE KELLY stares out from a helmet she’s made. Genteel teaspoons – bygone reminders of class, gender and colonial exploitation – form the armature for a mask that protects her from a dangerous world. Her son, Ned Kelly, notorious Australian bank robber and horse thief, was hanged in
1880. He fashioned a suit of armour from repurposed plough parts. She’s used a crochet hook and old VHS tape for hers. It looks good but it’s useless. The photographer’s lens has captured humour and defiance in the crone’s survival kit of secondary essentials worn like a necklace over her mock-chainmail shawl. The tape itself holds “The True History of the Kelly Gang” 1970 with Mick Jagger.






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KARENNE ANN
& HEATHER HORROCKS


Australian


She the Kelly, 2023
47.24 x 31.5 in
Credit: Karenne Ann and Heather Horrocks


These anthropomorphic portrayals of an old woman wearing ineffective masks and armour express the frustration and anger of two artists from regional Australia who collaborate as ISOyoh. Photographer Karenne Ann uses close focus to capture Heather Horrocks wearing works she has crocheted from redundant VHS film tape, trying to save the planet one cassette at a time. ISOyoh challenges the capitalist model of the solitary ‘hero’ artist. They believe art has the power to make us stop and think about the terrible impact of war, misogyny, waste and greed. They bring wisdom and post-menopausal power using just a camera and a story-telling medium that’s heading to landfill.


SHE THE EFFACED wears a WW1 gas mask that hides her old skin and her exasperation about man’s inhumanity to man. In WWI there were never enough masks because manufacturing weapons too took priority over medicines and life-saving devices. It still does. As a mother and grandmother, she knows why Bob Dylan wrote in Masters of War: “You’ve thrown the worst fear that can ever be hurled, fear to bring children Into the world” and she despairs.


SHE THE KELLY stares out from a helmet she’s made. Genteel teaspoons – bygone reminders of class, gender and colonial exploitation – form the armature for a mask that protects her from a dangerous world. Her son, Ned Kelly, notorious Australian bank robber and horse thief, was hanged in
1880. He fashioned a suit of armour from repurposed plough parts. She’s used a crochet hook and old VHS tape for hers. It looks good but it’s useless. The photographer’s lens has captured humour and defiance in the crone’s survival kit of secondary essentials worn like a necklace over her mock-chainmail shawl. The tape itself holds “The True History of the Kelly Gang” 1970 with Mick Jagger.






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Karina Sztein


Argentinian


All the invisible lines that remain in the memory of water
36 x 75 x 40 in
Credit: Karina Sztein


Different creative and linguistic stages have traversed the evolution of her works. She began to create abstractions from architectural floor plans, facades, and volumes immersed in the landscape. Then she started to fragment that architecture into geometries of bright colors that, while conversing with each other, also began to disintegrate, giving rise to more organic shapes.


Currently, this trace marks the beginning of a new dual cycle: on one hand, settling what has been traversed, and on the other, a new and constant experimentation. There are echoes of certain geometric rigor, but she aims to capture a realm of almost imperceptible gestures that meld between the pigment, water, and the tool; something like traces under the pressure of the material that allows her to see lights, shadows, and vibrations of a single monochromatic color. The result is a subtle rhythm. A rhythm of traces with silences, pauses, and spaces.


Those spaces find their connection and are sutured with another tool: her needle.
A needle that came to repair and unify again, to make way for a new code, aiming to be universal; something like a mysterious reading codex that, although indecipherable, allows us to recognize ourselves as part of something even greater.


The latest works of the 2024 period explore the convergence of oil, canvas, threads, needles, and pin hooks, where the delicate incorporation of the latter brings forth a new dimension: through their traces, the needles imprint the canvas, creating a play of shadows and lights that transforms corporeality. From a distance, they blend into a poetic rhythm, revealing their essence only upon closer inspection



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Karina Sztein


Argentinian


All the lines fade into the water
61.5 x 45 x 40 in
Credit: Karina Sztein


Different creative and linguistic stages have traversed the evolution of her works. She began to create abstractions from architectural floor plans, facades, and volumes immersed in the landscape. Then she started to fragment that architecture into geometries of bright colors that, while conversing with each other, also began to disintegrate, giving rise to more organic shapes.


Currently, this trace marks the beginning of a new dual cycle: on one hand, settling what has been traversed, and on the other, a new and constant experimentation. There are echoes of certain geometric rigor, but she aims to capture a realm of almost imperceptible gestures that meld between the pigment, water, and the tool; something like traces under the pressure of the material that allows her to see lights, shadows, and vibrations of a single monochromatic color. The result is a subtle rhythm. A rhythm of traces with silences, pauses, and spaces.


Those spaces find their connection and are sutured with another tool: her needle.
A needle that came to repair and unify again, to make way for a new code, aiming to be universal; something like a mysterious reading codex that, although indecipherable, allows us to recognize ourselves as part of something even greater.


The latest works of the 2024 period explore the convergence of oil, canvas, threads, needles, and pin hooks, where the delicate incorporation of the latter brings forth a new dimension: through their traces, the needles imprint the canvas, creating a play of shadows and lights that transforms corporeality. From a distance, they blend into a poetic rhythm, revealing their essence only upon closer inspection



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LILIANA ROTHSCHILD


Argentinian


From the series S.O.S, 2022
70,87 x 57,87 in
Credit: Liliana Rothschild


The essence of her work lies in plant based fibers, inspired by her reverence for nature and sustainability. Her journey led her to the discover of the Luffa, a plant she cultivates and transforms into versatile material for her art. By juxtaposing this ecological medium with themes of environmental degradation, she emphasizes respect for the environment and the intrinsic connection between art and nature.


Her creative process includes woodcut stamping where the incisions echo ancient South American pottery techniques, reflecting her deep admiration for indigenous cultures. Moreover, her use of the Luffa is a tribute to the indigenous peoples of South America , cultures that have long inspired her with their profound connection to the land and its resources. This connection not only honors their sustainable relationship with earth but also fosters a dialogue between tradition and modern ecological consciousness.


Her art reimagines the bonds between humans and nature, advocating for sustainable practices and inspiring reflection on ecological harmony. Looking ahead, she aims to innovate with sustainable materials, contributing to global conversations on climate change, care of the planet and cultural preservation. Her work celebrates natures beauty while calling for its stewardship, uniting art and sustainability as forces of change.



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LILIANA ROTHSCHILD


Argentinian


Hidden Impact, 2024
44,09 x 35,43 in
Credit: Liliana Rothschild


The essence of her work lies in plant based fibers, inspired by her reverence for nature and sustainability. Her journey led her to the discover of the Luffa, a plant she cultivates and transforms into versatile material for her art. By juxtaposing this ecological medium with themes of environmental degradation, she emphasizes respect for the environment and the intrinsic connection between art and nature.


Her creative process includes woodcut stamping where the incisions echo ancient South American pottery techniques, reflecting her deep admiration for indigenous cultures. Moreover, her use of the Luffa is a tribute to the indigenous peoples of South America , cultures that have long inspired her with their profound connection to the land and its resources. This connection not only honors their sustainable relationship with earth but also fosters a dialogue between tradition and modern ecological consciousness.


Her art reimagines the bonds between humans and nature, advocating for sustainable practices and inspiring reflection on ecological harmony. Looking ahead, she aims to innovate with sustainable materials, contributing to global conversations on climate change, care of the planet and cultural preservation. Her work celebrates natures beauty while calling for its stewardship, uniting art and sustainability as forces of change.



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LIST OF ARTISTS





ALMUDENA TORRÓ


Nationality: Spanish


Instagram: @almudena.torro
Website: almudenatorro.com



AMARGER


Nationality: French


Instagram: @brigitte_amarger
Website: brigitteamarger.com



ARIJANA GADŽIJEV


Nationality: Slovenian


Instagram: @arijanagadzijev
Website: arijanagadzijev.com



CAMILA LEITE


Nationality: Brazilian


Instagram: @camilaleitebastos



CATH ORAIN


Nationality: French


Instagram: @cathorain and
@wildcathpatterns



COEFFICIENTE G


Nationality: Italian


Instagram: @coefficiente_g
Website: gigarte.com/gaetanofrigo



DAGMAR LUCIA ODORIZ


Nationality: Argentinian


Instagram: @dagmar.creando.art



DOROTA WIŚNIEWSKA


Nationality: Polish


Instagram: @dorotka.tka
Website: wisniewskaart.pl



ELISA LUTTERAL


Nationality: Argentinian-american


Instagram: @elilutteral



EVELYN POLITZER


Nationality: Uruguayan


Instagram: @evelynpolitzer
Website: evelynpolitzer.com



FRANCES PALGRAVE


Nationality: German


Instagram: @mystitchart
Website: mystitchart.jimdofree.com



GIULIA BERRA


Nationality: Italian


Instagram: @berra_giulia
Website: giuliaberra.com



GUILLERMINA BAIGUERA


Nationality: Argentinian


Instagram: @guillerminabaiguera



INGRA MAIA


Nationality: Brazilian


Instagram: @peplos_
Website: peplos.com.br



JASON KRIEGLER


Nationality: American


Instagram: @jasonkriegler
Website: jasonkriegler.com



JOAN BRENDA HUNT


Nationality: Dutch


Instagram: @joanbrendahunt
Website: joanbrendahunt.com



JULIA KIRYANOVA


Nationality: Dutch


Instagram: @juulskiryanova
Website: juliakiryanova.com
Represented by: Rademakers Gallery



KARENNE ANN & HEATHER HORROCKS


Nationality: Australian


Instagram: @isoyoh13
WEBSITE: karenneann.com



KARINA SZTEIN


Nationality: Argentinian


Instagram: @ksztein.art
Website: karinasztein.com



LAURA KATZ RIZZO


Nationality: American


Instagram: @laurakatzrizzo
Website: laurakatzrizzo.com



LAURA PATRICIO


Nationality: Spanish


Instagram: @laura.to.the.lighthouse



LIBBY RAAB


Nationality: American


Instagram: @liesel.scribbles
Website: libbyraabart.com



LILIANA ROTHSCHILD


Nationality: Argentinian


Instagram: @liliana.rothschild



LIZ KUENEKE


Nationality: Spanish


Instagram: @liz.kueneke
Website: lizkueneke.com



LUIZ QUEIROZ


Nationality: Brazilian


Instagram: @luizqueiroz_fotografiaearte
Website: luizqueiroz.com



LUSI BOGDANOWICZ


Nationality: Ukranian


Instagram: @lusiko_wool_studio



LUZ ANGELA CRUZ


Nationality: Colombian


Instagram: @luzacruzdstudio



MANUEL HERNÁNDEZ RUIZ


Nationality: Colombian


Instagram: @i_worship_the_worms
Website: manuelhernandezruiz.com
Represented by: SGR Galería (Bogotá, Colombia)



MELODY HESARAKY


Nationality: American


Instagram: @melodyhesaraky
Website: melodyhesaraky.com
Represented by: West Chelsea Contemporary - New York; Decollage Art Space - Istanbul; RAMA - Portugal



NAT


Nationality: Chilean


Instagram: @nat.nataliasanchez



NATSUKO HATTORI


Nationality: Japanese


Instagram: @natsuko.hattori
WEBSITE: natsukohattori.net



NICOLE HAVEKOST


Nationality: American


Instagram: @nicole_havekost
Website: nikimade.com



OLEG KOSTYUCHENKO


Nationality: Belarusian


Instagram: @olegkost12
WEBSITE: oleg12.com/projects



OLGA RUDENIA


Nationality: Belarusian


Instagram: @volha_r_art



OLIVIA BABEL


Nationality: French


Instagram: @oliviababel
Website: oliviababel.com



RENATA MEIRELLES


Nationality: Brazilian


Instagram: @renatameirelles
Website: renatameirellesatelie.com.br



ROXANA CASALE


Nationality: Argentina


Instagram: @roxana.casale
Website: roxanacasale.com



SARAH FUENTES & CAMILA SALAMANCA


Nationality: Colombian


Instagram: @sarahfuentes.l
@camisalamanca98/


SUSANA OLAIO


Nationality: Portuguese


Instagram: @susana_olaio_studio



UCA DEA


Nationality: Romanian


Instagram: @uca.dea
Website: tiktok.com/@uca.dea



VERÓNICA GARRIDO CORDOVA


Nationality: Chilean


Instagram: @veronicagarridocordova













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Laura Katz Rizzo


American


MoKiMo Arch Portal, 2024
9 X 6 X 3 ft
Credit: Laura Katz Rizzo


I am a choreogra­pher, a dancer, a scholar and teacher, a maker of ritual, a mother, a woman, and a practitioner of witchcraft who seeks to learn more about the world and connect to that world more deeply through interdisciplinary embodied and symbolic meaning-making. Inspired by holistic process­es of connection and integration, I literally and figuratively bind together the theoretical and practical modalities of dance composition, dance performance, ethnographic fieldwork, and oral history with a feminist ideological commitment to making the personal both political and transparent.


My work with dance has deepened over time as it has crossed into the areas of spiritual practice and problem-solving modality. As such, my work recognizes and problematizes the false binaries we have constructed between body and mind, human and non-human, truth and fiction, made from a recursive and reflexive creative process that mirrors organic development and growth.


Meant to respond rather than dominate the landscape, my installations reflect a consideration of both physics and metaphysics, and exhibit creative architectural forms inspired by natural structures and processes like dendritic branching, neural and mycelial networks.



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Laura Katz Rizzo


American


MoKiMo Wave Portal, 2024
8 X 7 X 4 ft
Credit: Laura Katz Rizzo


I am a choreogra­pher, a dancer, a scholar and teacher, a maker of ritual, a mother, a woman, and a practitioner of witchcraft who seeks to learn more about the world and connect to that world more deeply through interdisciplinary embodied and symbolic meaning-making. Inspired by holistic process­es of connection and integration, I literally and figuratively bind together the theoretical and practical modalities of dance composition, dance performance, ethnographic fieldwork, and oral history with a feminist ideological commitment to making the personal both political and transparent.


My work with dance has deepened over time as it has crossed into the areas of spiritual practice and problem-solving modality. As such, my work recognizes and problematizes the false binaries we have constructed between body and mind, human and non-human, truth and fiction, made from a recursive and reflexive creative process that mirrors organic development and growth.


Meant to respond rather than dominate the landscape, my installations reflect a consideration of both physics and metaphysics, and exhibit creative architectural forms inspired by natural structures and processes like dendritic branching, neural and mycelial networks.



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Laura Patricio


Spanish


Demolition, 2024
10,5 x 8,5 x 1,5 in
Credit: Laura Patricio


Laura is a visual/textile artist, full-time re-
searcher, and workshop facilitator.


She often finds inspiration in the world around
her. She has transformed the academic
research she was engaged in for more than
a decade into art pieces that seek to explore the interconnection of all human beings, the ways we are linked to one another, and the risks of dehumanization in a world that considers human needs such as housing or connection as market commodities.


In creating art she is attempting to question the state of matters and raise awareness through thought-provoking exhibitions, community projects, and workshops. Maps, threads, and pins are her basic media these days. Her practice is mainly based on hybrid textile techniques, such as embroidering or bobbin-lace, mixed with cartographic work.


For her latest research on the processes of
gentrification and the growth of cities, Laura
has developed a technique that combines
both map-based work and textile techniques,
where the pins mark specific spots on the
map, and the yarn goes over these spots,
creating meaningful itineraries.


She specializes in socially engaged artwork,
sometimes leading groups of people to work together in craft-making as well as in raising social awareness.





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Laura Patricio


Spanish


Redlined Manhattan, 2024
16 x 28 x 1 in
Credit: Laura Patricio


Laura is a visual/textile artist, full-time researcher, and workshop facilitator.


She often finds inspiration in the world around
her. She has transformed the academic
research she was engaged in for more than
a decade into art pieces that seek to explore the interconnection of all human beings, the ways we are linked to one another, and the risks of dehumanization in a world that considers human needs such as housing or connection as market commodities.


In creating art she is attempting to question the state of matters and raise awareness through thought-provoking exhibitions, community projects, and workshops. Maps, threads, and pins are her basic media these days. Her practice is mainly based on hybrid textile techniques, such as embroidering or bobbin-lace, mixed with cartographic work.


For her latest research on the processes of
gentrification and the growth of cities, Laura
has developed a technique that combines
both map-based work and textile techniques,
where the pins mark specific spots on the
map, and the yarn goes over these spots,
creating meaningful itineraries.


She specializes in socially engaged artwork,
sometimes leading groups of people to work together in craft-making as well as in raising social awareness.





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Libby Raab


American


Forest Floor, 2024
21 x 13 in
Credit: Libby Raab


Weaving is an act of integration. My paper weaves are about disintegration and the lifecycle of organic matter. The building blocks of my weaves are original photographs of patterns found in nature. Some images are intentionally “degraded” while others are exaggerated to create new digital textures that give the impression of a previously woven fabric. I will further accelerate the visual decay by eroding sections of the weave and/or adding paper raffia to represent past wounds scarred over. As my art practice evolves, I continue to discover personal connections between organic structures and their similarity to social networks in humans.


My latest body of work investigates this relationship through the iteration of a custom weave pattern inspired by slime mold and lichen. While slime molds spend most of their lives as separate organisms, upon the release of a chemical signal, the individual cells aggregate into a great swarm that work together and have been known to collectively solve mazes. Lichen is a combination of fungus and algae that work together in a relationship referred to as “mutualism.” Mutual dependence (lichen) and collaboration (slime mold) can be found between all kinds of animal species, including humans.


During times of stress, slime molds and lichen develop beautiful spore-generating fruiting bodies that are a natural inspiration to me. In addition to modeling my weave patterns after slime molds, I chose images of tree trunks for the warp that contrast with brightly colored digital images for the weft. The paper raffia is a third (over) weave that selectively amplifies the colors below, like lichen that grows on rocks and trees. Beyond pure appreciation for the graphic beauty of molds and lichen, my hope is that my paper weaves symbolize the beauty that is possible in community and sharing resources.



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Libby Raab


American


Fragment in Browns, 2024
19 x 8.5 in
Credit: Libby Raab


Weaving is an act of integration. My paper weaves are about disintegration and the lifecycle of organic matter. The building blocks of my weaves are original photographs of patterns found in nature. Some images are intentionally “degraded” while others are exaggerated to create new digital textures that give the impression of a previously woven fabric. I will further accelerate the visual decay by eroding sections of the weave and/or adding paper raffia to represent past wounds scarred over. As my art practice evolves, I continue to discover personal connections between organic structures and their similarity to social networks in humans.


My latest body of work investigates this relationship through the iteration of a custom weave pattern inspired by slime mold and lichen. While slime molds spend most of their lives as separate organisms, upon the release of a chemical signal, the individual cells aggregate into a great swarm that work together and have been known to collectively solve mazes. Lichen is a combination of fungus and algae that work together in a relationship referred to as “mutualism.” Mutual dependence (lichen) and collaboration (slime mold) can be found between all kinds of animal species, including humans.


During times of stress, slime molds and lichen develop beautiful spore-generating fruiting bodies that are a natural inspiration to me. In addition to modeling my weave patterns after slime molds, I chose images of tree trunks for the warp that contrast with brightly colored digital images for the weft. The paper raffia is a third (over) weave that selectively amplifies the colors below, like lichen that grows on rocks and trees. Beyond pure appreciation for the graphic beauty of molds and lichen, my hope is that my paper weaves symbolize the beauty that is possible in community and sharing resources.



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Liz Kueneke


Spanish


Landschaftstadt Zurich, 2023
39 x 78 in
Credit: Liz Kueneke


Liz Kueneke investigates the relationships that people have with their environment through the use of participatory mapping and embroidery activities. She is fascinated by the human urban experience and the different layers of meaning attached to the public and private spaces that we inhabit, and how the changes taking place in our cities are affecting our lives.


She learned stitching from her grandmother Dorothy who made patchwork quilts in quilting circles with her close friends. Liz has taken this tradition and turned it inside-out with her world-renowned project “The Urban Fabric”. She has taken the concept of her grandmother’s quilting circles and transformed them into public embroidery circles done in the street and amongst strangers. First, she stitches the map herself, using what is known as the “running stitch” in embroidery, but which she prefers to call her “walking stitch”. She explores different territories stitch by stitch and lets the distinct pattern of each city soak into her consciousness through her eyes and her fingers. She then takes each map out to the streets on a foldable embroidery table. These works are public interventions in which passersby are invited to participate by marking significant places for them into the map.


They mark both positive and negative places by embroidering symbols into the map with thread. For example: “Where is the heart of the city?”, “Where is a place that is positive for the community?”, “Where is a place which needs changes?”, or “Where is an unsafe place?”. Participants are also free to embroider personal images and words freely into the borders of the map. During this slow and meditative process, participants help each other to stitch, as well as discuss and debate the issues of their city.



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Liz Kueneke


Spanish


The Urban Fabric Amsterdam, 2018
39 x 78 in
Credit: Liz Kueneke


Liz Kueneke investigates the relationships that people have with their environment through the use of participatory mapping and embroidery activities. She is fascinated by the human urban experience and the different layers of meaning attached to the public and private spaces that we inhabit, and how the changes taking place in our cities are affecting our lives.


She learned stitching from her grandmother Dorothy who made patchwork quilts in quilting circles with her close friends. Liz has taken this tradition and turned it inside-out with her world-renowned project “The Urban Fabric”. She has taken the concept of her grandmother’s quilting circles and transformed them into public embroidery circles done in the street and amongst strangers. First, she stitches the map herself, using what is known as the “running stitch” in embroidery, but which she prefers to call her “walking stitch”. She explores different territories stitch by stitch and lets the distinct pattern of each city soak into her consciousness through her eyes and her fingers. She then takes each map out to the streets on a foldable embroidery table. These works are public interventions in which passersby are invited to participate by marking significant places for them into the map.


They mark both positive and negative places by embroidering symbols into the map with thread. For example: “Where is the heart of the city?”, “Where is a place that is positive for the community?”, “Where is a place which needs changes?”, or “Where is an unsafe place?”. Participants are also free to embroider personal images and words freely into the borders of the map. During this slow and meditative process, participants help each other to stitch, as well as discuss and debate the issues of their city.



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Luiz Queiroz


Brazilian


Capoeira, 2024
23,6 x 15,7 in
Credit: Luiz Fernando Galvão de Queiroz


Luiz Queiroz uses photography to take care of what affects him. He captures in the voids, feels in the landscapes, in the people, in the environments, what must be created. He is interested in the human element inserted in the scene, in the common place. He avoids the obvious and captures the event in the lens, in the angle, in the deformation of the perspective that makes the image unique and powerful. He establishes an intuitive and immediate contact with the situation, with the object, and knows how to capture the mood, as if stealing the image from the atmosphere, without interfering with the scene. Like an image craftsman, he builds the atmosphere he wants, point by point, expanding the expressiveness of his work.


Since he was a child, he already knew what his job would be. He was photographing at just 8 years old with his father’s Pentax Spotmatic 35mm. He followed paths in advertising, collaborating in several advertising agencies, magazines, catalogs, technical photography magazines, and publishers in Brazil. He attended school with renowned photographers in Europe, where he lived and worked for a few years. He learned how to assemble lighting in studios with Oliviero Toscani, Fabrizio Ferri, and Bert Stern, among others, developing his eye for the subtleties of light, shadows, and angles. He technically prints his story and his extensive experience as a photographer.


Luiz Queiroz has his own style, striking and recognized from the light, printed on the pupil of the eye, secrets of good photography, the studio mirror.




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Luiz Queiroz


Brazilian


Capoeira, 2024
23,6 x 15,7 in
Credit: Luiz Fernando Galvão de Queiroz


Luiz Queiroz uses photography to take care of what affects him. He captures in the voids, feels in the landscapes, in the people, in the environments, what must be created. He is interested in the human element inserted in the scene, in the common place. He avoids the obvious and captures the event in the lens, in the angle, in the deformation of the perspective that makes the image unique and powerful. He establishes an intuitive and immediate contact with the situation, with the object, and knows how to capture the mood, as if stealing the image from the atmosphere, without interfering with the scene. Like an image craftsman, he builds the atmosphere he wants, point by point, expanding the expressiveness of his work.


Since he was a child, he already knew what his job would be. He was photographing at just 8 years old with his father’s Pentax Spotmatic 35mm. He followed paths in advertising, collaborating in several advertising agencies, magazines, catalogs, technical photography magazines, and publishers in Brazil. He attended school with renowned photographers in Europe, where he lived and worked for a few years. He learned how to assemble lighting in studios with Oliviero Toscani, Fabrizio Ferri, and Bert Stern, among others, developing his eye for the subtleties of light, shadows, and angles. He technically prints his story and his extensive experience as a photographer.


Luiz Queiroz has his own style, striking and recognized from the light, printed on the pupil of the eye, secrets of good photography, the studio mirror.




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Luiz Queiroz


Brazilian


Clowns, 1987
23,6 x 15,7 in
Credit: Luiz Fernando Galvão de Queiroz


Luiz Queiroz uses photography to take care of what affects him. He captures in the voids, feels in the landscapes, in the people, in the environments, what must be created. He is interested in the human element inserted in the scene, in the common place. He avoids the obvious and captures the event in the lens, in the angle, in the deformation of the perspective that makes the image unique and powerful. He establishes an intuitive and immediate contact with the situation, with the object, and knows how to capture the mood, as if stealing the image from the atmosphere, without interfering with the scene. Like an image craftsman, he builds the atmosphere he wants, point by point, expanding the expressiveness of his work.


Since he was a child, he already knew what his job would be. He was photographing at just 8 years old with his father’s Pentax Spotmatic 35mm. He followed paths in advertising, collaborating in several advertising agencies, magazines, catalogs, technical photography magazines, and publishers in Brazil. He attended school with renowned photographers in Europe, where he lived and worked for a few years. He learned how to assemble lighting in studios with Oliviero Toscani, Fabrizio Ferri, and Bert Stern, among others, developing his eye for the subtleties of light, shadows, and angles. He technically prints his story and his extensive experience as a photographer.


Luiz Queiroz has his own style, striking and recognized from the light, printed on the pupil of the eye, secrets of good photography, the studio mirror.




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Lusi Bogdanowicz


Ukrainian


Love, 2021
15.7 x 19.6 x 11.8 in
Credit: Lusi Bogdanowicz


Lusi Bogdanowicz explores energy and its impact on humans within the context of the Universe.


Her creative pursuits focus on the Quantum World—an invisible field of energy and information that connects all beings, objects, places, and time. She researches the subconscious and its relationship with the Universe, examining their interaction and mutual influence.


The practice of meditation helps her transcend the perception of time, experience space, receive information from the Universe, and translate it into artistic imagery. She believes that the fusion of consciousness and the subconscious is the key to an infinite source of energy, which she strives to incorporate into her works. She sees herself as a conduit, driven by a strong desire to share her discoveries and convey the complexity of the Universe beyond its apparent simplicity. The energy present in every individual and in the cosmos serves as a unifying force, reminding us that we are all part of a singular entity.


Her engagement with materials is a study in itself. She works with the heritage of the past while integrating modern technologies, allowing her to combine wool fibers with other materials, such as silk. This fusion represents a contemporary reinterpretation of traditions and a fresh perspective on the future.


The genres of surrealism and ethno-surrealism enable her to transform ideas into new artistic forms, enhancing them with lighting, totemic objects, and ceramics.



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Lusi Bogdanowicz


Ukrainian


Observer, 2024
27.5 x 19.6 x 13.7 in
Credit: Lusi Bogdanowicz


Lusi Bogdanowicz explores energy and its impact on humans within the context of the Universe.


Her creative pursuits focus on the Quantum World—an invisible field of energy and information that connects all beings, objects, places, and time. She researches the subconscious and its relationship with the Universe, examining their interaction and mutual influence.


The practice of meditation helps her transcend the perception of time, experience space, receive information from the Universe, and translate it into artistic imagery. She believes that the fusion of consciousness and the subconscious is the key to an infinite source of energy, which she strives to incorporate into her works. She sees herself as a conduit, driven by a strong desire to share her discoveries and convey the complexity of the Universe beyond its apparent simplicity. The energy present in every individual and in the cosmos serves as a unifying force, reminding us that we are all part of a singular entity.


Her engagement with materials is a study in itself. She works with the heritage of the past while integrating modern technologies, allowing her to combine wool fibers with other materials, such as silk. This fusion represents a contemporary reinterpretation of traditions and a fresh perspective on the future.


The genres of surrealism and ethno-surrealism enable her to transform ideas into new artistic forms, enhancing them with lighting, totemic objects, and ceramics.



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Luz Angela Cruz


Colombian


Florura 4, 2025
14.74 x15.74 x 5.11 in
Credit: Luz Angela Cruz


Her artistic work reflects a profound connection with the world around her. By combining diverse techniques and materials, she strives to create pieces that capture the essence of the beauty and complexity of nature and life itself.


Her creative process is one of constant exploration. She immerses herself in experimentation with forms, colors, and textures, allowing intuition and instinct to guide her path. Often, she works with the deconstruction of basic elements, such as the circle, to craft compositions that challenge perception and traditional two-dimensionality.


Her goal is to invite viewers on a visual and emotional journey. As they engage with her 3D, interwoven, and deconstructed works, she hopes to inspire them to question reality and discover new perspectives.


Each piece she creates is a testament to her passion for creativity and her desire to convey emotions and experiences through art.
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Luz Angela Cruz


Colombian


Florura 5, 2025
14.74 x15.74 x 5.11 in
Credit: Luz Angela Cruz


Her artistic work reflects a profound connection with the world around her. By combining diverse techniques and materials, she strives to create pieces that capture the essence of the beauty and complexity of nature and life itself.


Her creative process is one of constant exploration. She immerses herself in experimentation with forms, colors, and textures, allowing intuition and instinct to guide her path. Often, she works with the deconstruction of basic elements, such as the circle, to craft compositions that challenge perception and traditional two-dimensionality.


Her goal is to invite viewers on a visual and emotional journey. As they engage with her 3D, interwoven, and deconstructed works, she hopes to inspire them to question reality and discover new perspectives.


Each piece she creates is a testament to her passion for creativity and her desire to convey emotions and experiences through art.
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MUSEU TÊXTIL




Originally founded in 2020 in São Paulo, Brazil, by Rodrigo Franzão and currently located in New Orleans, USA, Museu Têxtil aims to bring together curious minds interested in art, design, and culture by presenting universal research, techniques, and styles found in textile, mixed, and dimensional arts. These universal concepts are presented by visionaries from around the world who use their creativity to express themselves and share their worldviews. In this way, Museu Têxtil becomes a space that stimulates dialogue and inspires art lovers and creators from all over the world.


The main objective of Museu Têxtil is to disseminate the work of creative minds who use textile strategies as support in their creations. Additionally, the institution aims to foster an environment conducive to research, production, and exhibition of this cultural manifestation and form of artistic expression. With this, Museu Têxtil is dedicated to promoting and valuing textile art, encouraging the creation of new works and the refinement of techniques and knowledge in this field.


Art is a fusion of the real and the utopian, and Museu Têxtil seeks to expose this interaction through the emphatic self-referential rhetoric of innovators from different cultures and backgrounds. The institution is dedicated to investigating the representative meaning that the artist or designer uses when referring to the senses and the tangible physical world in which we are immersed. Thus, Museu Têxtil seeks to unveil the foundations that structure artistic research, revealing how these professionals use their senses to create and express their worldviews through textile art.


Museu Têxtil employs different media formats, such as audiovisual presentations, exhibition projects, and thematic or free programs, to display artworks in its 360-degree virtual environment. These works emphasize the importance of textiles in the history of art and within the social, cultural, political, and economic context. In this way, Museu Têxtil offers an immersive and enriching experience to virtual visitors, enabling a deeper reflection on the significance and influence of this artistic language in various aspects of society.


Museu Têxtil also offers an educational area called Research and Learning, which aims to broaden the understanding of artistic creation. This is achieved through interviews with creative geniuses and scholars of this fascinating and ancient form of human expression. The goal is to reinforce the methodologies developed throughout history by humanity and, thus, encourage the recovery of the modern for a better understanding of the contemporary. With this initiative, Museu Têxtil contributes to the dissemination of knowledge and appreciation of textile art, as well as enriching the experience of its visiting public.



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Manuel Hernández Ruiz


Colombian


Great Supranational Flag V, 2024
26.5 x 39.3 x 0,5 in
Credit: Manuel Hernández Ruiz


He paints, draws, and makes wooden or clay pieces from time to time. Comics and fanzines are sporadic manifestations in which he expresses more immediate or impulsive ideas. Themes explored in paintings, drawings, cutouts, or cardboard figurines only reveal their true essence in a place outside what was originally planned. It is difficult to make something totally convincing, and yet, from time to time, the paintbrush mocks the first idiotic idea of certainty, declaring its independence. He is a tool of something unknown; the messenger of a primordial notion floating around. If he is lucky, it can be harnessed and developed into something out of it, hoping one day he will be able to glimpse the messages. He doesn’t know if there are lessons to be learned from his daily chores. There is enough to save the day and change realities.



Meanwhile,


I’m ignorant


and I draw a line.



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Manuel Hernández Ruiz


Colombian


Sometimes I am Ok II, 2024
39 x 59 x 0,5 in
Credit: Manuel Hernández Ruiz


He paints, draws, and makes wooden or clay pieces from time to time. Comics and fanzines are sporadic manifestations in which he expresses more immediate or impulsive ideas. Themes explored in paintings, drawings, cutouts, or cardboard figurines only reveal their true essence in a place outside what was originally planned. It is difficult to make something totally convincing, and yet, from time to time, the paintbrush mocks the first idiotic idea of certainty, declaring its independence. He is a tool of something unknown; the messenger of a primordial notion floating around. If he is lucky, it can be harnessed and developed into something out of it, hoping one day he will be able to glimpse the messages. He doesn’t know if there are lessons to be learned from his daily chores. There is enough to save the day and change realities.



Meanwhile,


I’m ignorant


and I draw a line.



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Melody Hesaraky


American


In Exploration of Space, 2022
27 x 40 x 1 in
Credit: Melody Hesaraky


New York-based Textile Designer and artist Melody Hesaraky is in between the world of visual art, movement, music, and fashion. She is known for her paintings that bridge art and music.


Her work has been published in more than 20 magazines, including The New York Times, KALTBLUT Magazine, FLAIR, Vanity Teen, and many more. From an early age, Melody has been involved in art through drawing and painting. This impulse toward artistic creativity, from an early age, nurtured deep inside her a kind of determination that her prospective career must be connected to art and design.


She received her Bachelor’s in 3D Design and Craft with honors from the University of Brighton, UK, in 2014, and her MFA in Textile Design for Fashion from the Academy of Art University in San Francisco. In a world obsessed with speed, Hesaraky’s art invites you to stay still. Her meditative visual art and repetitive patterns, inspired by sound, vibration, and energy, encourage the viewer to be present and practice mindfulness.


Melody Hesaraky founded HES Studio, a creative print, fashion, and art lab, in 2019 with a focus on slow production and sustainability.



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Melody Hesaraky


American


Oneness, 2021
28 x 36 x 1 in
Credit: Melody Hesaraky


New York-based Textile Designer and artist Melody Hesaraky is in between the world of visual art, movement, music, and fashion. She is known for her paintings that bridge art and music.


Her work has been published in more than 20 magazines, including The New York Times, KALTBLUT Magazine, FLAIR, Vanity Teen, and many more. From an early age, Melody has been involved in art through drawing and painting. This impulse toward artistic creativity, from an early age, nurtured deep inside her a kind of determination that her prospective career must be connected to art and design.


She received her Bachelor’s in 3D Design and Craft with honors from the University of Brighton, UK, in 2014, and her MFA in Textile Design for Fashion from the Academy of Art University in San Francisco. In a world obsessed with speed, Hesaraky’s art invites you to stay still. Her meditative visual art and repetitive patterns, inspired by sound, vibration, and energy, encourage the viewer to be present and practice mindfulness.


Melody Hesaraky founded HES Studio, a creative print, fashion, and art lab, in 2019 with a focus on slow production and sustainability.



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NAT


Chilean


Cuka, 2024
9 x 7 in
Credit: Nat


As a pioneering artist of the technique in Chile, NAT creates each piece in an original and unique way, achieving an internal dialogue between herself, the photographs, and the materials she uses.


It is a tool for transformation and an alternative expression to conventional imagery, transmitting sensations, emotions, and contrasts between the black-and-white world and the colors provided by her textile materials. We also see relief and a different play between the already-known format and “stepping out of the format” with the threads.
In her work, we observe the re-signification of images, expressing feelings that were not captured by a camera. This gives new life to each image she works with.


Currently, she works on commissions and in series that arise from her own perspective of the world around her. This year, NAT has been exploring acrylic painting for the creation of some of her works, thus introducing a mixed technique in her pieces, especially in her AFRICA series, which is based on African patterns intervened with paint and embroidery.
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NAT


Chilean


Mika, 2024
9 x 7 in
Credit: Nat


As a pioneering artist of the technique in Chile, NAT creates each piece in an original and unique way, achieving an internal dialogue between herself, the photographs, and the materials she uses.


It is a tool for transformation and an alternative expression to conventional imagery, transmitting sensations, emotions, and contrasts between the black-and-white world and the colors provided by her textile materials. We also see relief and a different play between the already-known format and “stepping out of the format” with the threads.
In her work, we observe the re-signification of images, expressing feelings that were not captured by a camera. This gives new life to each image she works with.


Currently, she works on commissions and in series that arise from her own perspective of the world around her. This year, NAT has been exploring acrylic painting for the creation of some of her works, thus introducing a mixed technique in her pieces, especially in her AFRICA series, which is based on African patterns intervened with paint and embroidery.
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NATSUKO HATTORI


Japanese


Infinity, 2012
25 diameter x 20 in
Credit: Natsuko Hattori


Fabric is my chosen medium because it resonates universally, transcending cultural and geographic boundaries. It carries a unique warmth, natural softness, and an intimate human touch, making it deeply relatable. This material embodies the essence of humanity— gentle yet enduring, familiar yet profound. Within my sculptures, the act of wrapping becomes a central, almost meditative ritual, infusing the fabric with layers of meaning and emotional depth.


Each of my artworks begins with a careful selection of fabric, chosen for its texture, color, and story. I cut and shape the material into cotton-filled spheres, which are then transformed into vibrant, eye-catching forms. These spheres, bursting with lively and sometimes flamboyant colors, are not merely decorative; they symbolize the varied and complex inner states of human beings.
The act of wrapping these spheres is both physical and metaphorical. With every layer, pain, sadness, and despair are enveloped and transformed into positive energy, love, or a prayer for healing and comfort. Through this process, the fabric becomes a vessel for renewal, turning hardship into something meaningful and uplifting.


Through my sculptures, I aim to convey a sense of happiness and renewal, offering a celebration of the human spirit. The tactile quality of fabric invites people to connect with the artwork on a sensory level, creating a bridge between art and audience. The pieces stand as a testament to resilience, showing how beauty can emerge from adversity and how connection can arise from shared experiences.


I hope my work brings joy and a sense of peace to those who encounter it, fostering an appreciation for the small, tender gestures that shape our lives.



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NATSUKO HATTORI


Japanese


Worn stories, 2014
36_x36_x15 in
Credit: Natsuko Hattori


Fabric is my chosen medium because it resonates universally, transcending cultural and geographic boundaries. It carries a unique warmth, natural softness, and an intimate human touch, making it deeply relatable. This material embodies the essence of humanity— gentle yet enduring, familiar yet profound. Within my sculptures, the act of wrapping becomes a central, almost meditative ritual, infusing the fabric with layers of meaning and emotional depth.


Each of my artworks begins with a careful selection of fabric, chosen for its texture, color, and story. I cut and shape the material into cotton-filled spheres, which are then transformed into vibrant, eye-catching forms. These spheres, bursting with lively and sometimes flamboyant colors, are not merely decorative; they symbolize the varied and complex inner states of human beings.
The act of wrapping these spheres is both physical and metaphorical. With every layer, pain, sadness, and despair are enveloped and transformed into positive energy, love, or a prayer for healing and comfort. Through this process, the fabric becomes a vessel for renewal, turning hardship into something meaningful and uplifting.


Through my sculptures, I aim to convey a sense of happiness and renewal, offering a celebration of the human spirit. The tactile quality of fabric invites people to connect with the artwork on a sensory level, creating a bridge between art and audience. The pieces stand as a testament to resilience, showing how beauty can emerge from adversity and how connection can arise from shared experiences.


I hope my work brings joy and a sense of peace to those who encounter it, fostering an appreciation for the small, tender gestures that shape our lives.



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Nicole Havekost


American


Gape, 2023
32 x 14 x 16 in
Credit: Nicole Havekost


Nicole Havekost is fascinated by the body. She makes work that reflects the increasing age and slow decay she witnesses in her changing body. Coarse hair grows in places that were once smooth. Lungs take in air and bones degrade. Flesh softens and slumps. Havekost chooses to accept it all as revelation and horror.


She is drawn to materials that are both delicate and familiar; evocative of the body, lived experience, and memory. She is deeply interested in process, labor, and compulsive mark-making that spans both time and surface. Havekost’s favored tool is a needle; it changes a surface by piercing a hole and passing through it. That needle, attached to thread, however, can repair or even transform that surface by joining it back to itself or another material. The act and effects of destruction can make a form unrecognizable and new. A repair allows for the recognition of change within the familiar. Both actions speak to her experience as a woman and mother undergoing perpetual and progressive change in her physical body and evolving roles in the world.


Havekost makes works with wool felt and paper; each is a living material, both malleable and forgiving. Both hold a mark, much like the skin of a body. These materials allow the inside and outside to be present simultaneously, making the fecund visible. Her work explores this exquisite, mysterious organism she inhabits that exists beyond her desires and authority.



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Nicole Havekost


American


Source, 2023
69 x 19 x 19 in
Credit: Nicole Havekost


Nicole Havekost is fascinated by the body. She makes work that reflects the increasing age and slow decay she witnesses in her changing body. Coarse hair grows in places that were once smooth. Lungs take in air and bones degrade. Flesh softens and slumps. Havekost chooses to accept it all as revelation and horror.


She is drawn to materials that are both delicate and familiar; evocative of the body, lived experience, and memory. She is deeply interested in process, labor, and compulsive mark-making that spans both time and surface. Havekost’s favored tool is a needle; it changes a surface by piercing a hole and passing through it. That needle, attached to thread, however, can repair or even transform that surface by joining it back to itself or another material. The act and effects of destruction can make a form unrecognizable and new. A repair allows for the recognition of change within the familiar. Both actions speak to her experience as a woman and mother undergoing perpetual and progressive change in her physical body and evolving roles in the world.


Havekost makes works with wool felt and paper; each is a living material, both malleable and forgiving. Both hold a mark, much like the skin of a body. These materials allow the inside and outside to be present simultaneously, making the fecund visible. Her work explores this exquisite, mysterious organism she inhabits that exists beyond her desires and authority.



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Oleg Kostyuchenko


Belarusian


A return visit, 2019
49 sec
Credit: Oleg Kostyuchenko


His works are connected with physical endurance and focus on the body as a material continuation of the mental. The object of his research is a person with a special physical and mental development.


He works in the field of anthropology and physiology, and part of his searches takes place directly in autopsy laboratories in order to study the body and practical anatomy. “The body is the territory of research that cannot be observed in all forms.”


In this video, he foresees and reflects the mass deaths associated with COVID-19 and the illegal retention of power in Belarus in 2020, as well as the war in Ukraine in 2022.
The act of insubordination as a free action is the beginning of thinking. The events of 2020 marked the beginning of the revolution and the ongoing repression to this day. Moreover, we are already talking not only about the situation in Belarus, but also about the new reality around the world.


In the video, he is digging a mass grave. This mass grave can be used during major conflicts such as war and crime, as well as in the present day, it may be used after a famine, epidemic, or natural disaster.



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Oleg Kostyuchenko


Belarusian


A return visit, 2019
49 sec
Credit: Oleg Kostyuchenko


His works are connected with physical endurance and focus on the body as a material continuation of the mental. The object of his research is a person with a special physical and mental development.


He works in the field of anthropology and physiology, and part of his searches takes place directly in autopsy laboratories in order to study the body and practical anatomy. “The body is the territory of research that cannot be observed in all forms.”


In this video, he foresees and reflects the mass deaths associated with COVID-19 and the illegal retention of power in Belarus in 2020, as well as the war in Ukraine in 2022.
The act of insubordination as a free action is the beginning of thinking. The events of 2020 marked the beginning of the revolution and the ongoing repression to this day. Moreover, we are already talking not only about the situation in Belarus, but also about the new reality around the world.


In the video, he is digging a mass grave. This mass grave can be used during major conflicts such as war and crime, as well as in the present day, it may be used after a famine, epidemic, or natural disaster.



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Oleg Kostyuchenko


Belarusian


A return visit, 2019
49 sec
Credit: Oleg Kostyuchenko


His works are connected with physical endurance and focus on the body as a material continuation of the mental. The object of his research is a person with a special physical and mental development.


He works in the field of anthropology and physiology, and part of his searches takes place directly in autopsy laboratories in order to study the body and practical anatomy. “The body is the territory of research that cannot be observed in all forms.”


In this video, he foresees and reflects the mass deaths associated with COVID-19 and the illegal retention of power in Belarus in 2020, as well as the war in Ukraine in 2022.
The act of insubordination as a free action is the beginning of thinking. The events of 2020 marked the beginning of the revolution and the ongoing repression to this day. Moreover, we are already talking not only about the situation in Belarus, but also about the new reality around the world.


In the video, he is digging a mass grave. This mass grave can be used during major conflicts such as war and crime, as well as in the present day, it may be used after a famine, epidemic, or natural disaster.



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Olga Rudenia


Belarusian


Lands, 2024
26 x 58 in
Credit: Olga Rudenia



Olga’s artistic practice revolves around capturing moments of transition—when the canvas ceases to be a flat surface and grows into an object with depth, where paint takes on texture, and colors seep in materiality. She pays special attention to the tactile qualities of fabric and the translucent nature of colors, centering her work on the physicality of the painting. By relinquishing control over the process, Olga allows the paint to flow freely, letting the inherent properties of the materials take the lead.


Inspired by classical techniques, Olga delves into the complexities of traditional methods to create visual metaphors, effects, and illusions. Her aim is to animate color, enabling it to shift and transform as viewers engage with the artwork, creating an interactive experience that evolves with movement.


In her current projects, Olga embarks on a deeply introspective and reflective journey, embracing sewing techniques and light, ethereal materials such as textiles and fabrics. Her focus on layers and diaphaneity in prints marks a poignant departure from her past work with solid, weighty materials. This shift is not merely technical but is influenced by childhood memories of her mother’s sewing and fashion design. These recollections now guide Olga’s exploration of soft, flexible forms, weaving her personal history into her creative process.


As she transitions from painting to sculpture, and from traditional sculpture to soft, fabric-like forms, Olga integrates the fluidity of her artistic expression, with color remaining at the heart of her practice.
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Olga Rudenia


Belarusian


Lands, 2024
45 x 60 in
Credit: Olga Rudenia



Olga’s artistic practice revolves around capturing moments of transition—when the canvas ceases to be a flat surface and grows into an object with depth, where paint takes on texture, and colors seep in materiality. She pays special attention to the tactile qualities of fabric and the translucent nature of colors, centering her work on the physicality of the painting. By relinquishing control over the process, Olga allows the paint to flow freely, letting the inherent properties of the materials take the lead.


Inspired by classical techniques, Olga delves into the complexities of traditional methods to create visual metaphors, effects, and illusions. Her aim is to animate color, enabling it to shift and transform as viewers engage with the artwork, creating an interactive experience that evolves with movement.


In her current projects, Olga embarks on a deeply introspective and reflective journey, embracing sewing techniques and light, ethereal materials such as textiles and fabrics. Her focus on layers and diaphaneity in prints marks a poignant departure from her past work with solid, weighty materials. This shift is not merely technical but is influenced by childhood memories of her mother’s sewing and fashion design. These recollections now guide Olga’s exploration of soft, flexible forms, weaving her personal history into her creative process.


As she transitions from painting to sculpture, and from traditional sculpture to soft, fabric-like forms, Olga integrates the fluidity of her artistic expression, with color remaining at the heart of her practice.
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Olivia Babel


French


Garden 5, 2023
39 x 31 x 2 in
Credit: Olivia Babel


Driven by an unwavering passion for the art of hand-weaving, her journey has led me to an enchanting exploration of cartography and the nuanced concept of territory. Through her meticulous portrayals of diverse landscapes, she aims to ignite contemplation on our profound relationship with the environment. Her rich tapestry of experiences, woven from diverse ethnicities spanning Europe, Africa, Asia, and South America, serves as a testament to our global interconnectedness.


Each masterpiece she crafts is meticulously handwoven on looms within my atelier nestled in Lyon, France, employing traditional French savoir-faire and premium materials. Her oeuvre, a manifestation of her cosmopolitan sensibilities, graces international art galleries, leaving an indelible mark on viewers worldwide.


Noteworthy exhibitions include her debut at the prestigious International Biennial Contextile in Guimarães, Portugal, and the Biennial Objet Textile in Roubaix, France, both in 2018. Subsequently, she showcased her artistry at various esteemed venues, such as the gallery Atelier 28 in Lyon, France, in 2019, and her captivating solo exhibition in Abu Dhabi, UAE, in 2022, alongside appearances at the international spring art pop-up in Malmö, Sweden, and a group exhibition at Habtoor Palace in Dubai, UAE.


Building upon this momentum, 2023 saw the unveiling of another solo exhibition in Dubai, coupled with group exhibitions across South Korea, Turkey, and London, underscoring my global resonance.



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Olivia Babel


French


Moon, 2021
59 x 59 x 2 in
Credit: Olivia Babel


Driven by an unwavering passion for the art of hand-weaving, her journey has led me to an enchanting exploration of cartography and the nuanced concept of territory. Through her meticulous portrayals of diverse landscapes, she aims to ignite contemplation on our profound relationship with the environment. Her rich tapestry of experiences, woven from diverse ethnicities spanning Europe, Africa, Asia, and South America, serves as a testament to our global interconnectedness.


Each masterpiece she crafts is meticulously handwoven on looms within my atelier nestled in Lyon, France, employing traditional French savoir-faire and premium materials. Her oeuvre, a manifestation of her cosmopolitan sensibilities, graces international art galleries, leaving an indelible mark on viewers worldwide.


Noteworthy exhibitions include her debut at the prestigious International Biennial Contextile in Guimarães, Portugal, and the Biennial Objet Textile in Roubaix, France, both in 2018. Subsequently, she showcased her artistry at various esteemed venues, such as the gallery Atelier 28 in Lyon, France, in 2019, and her captivating solo exhibition in Abu Dhabi, UAE, in 2022, alongside appearances at the international spring art pop-up in Malmö, Sweden, and a group exhibition at Habtoor Palace in Dubai, UAE.


Building upon this momentum, 2023 saw the unveiling of another solo exhibition in Dubai, coupled with group exhibitions across South Korea, Turkey, and London, underscoring my global resonance.



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One World


Rodrigo Franzão





Details
Hardcover, ImageWrap
Mohawk ProPhoto Pearl paper (190 GSM)
Portrait, 8×10 in (20×25 cm)
120 pages


ISBN: 978-65-998488-3-4 
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RENATA MEIRELLES


Brazilian


Hope, 2021
12 x 10 x 6 in
Credit: Renata Meireles



What constitutes one’s identity? What lies at the foundation and structure of their being? What enables someone to embrace the unknown without fear, to weave the uncharted, the unfamiliar, the untold?


For Renata, the answer resides in pursuing alternative paths, without severing her roots. A return to Brazilian craftsmanship, engaging in hands-on experimentation with master artisans of basketry, sewing, and weaving, incorporating these practices and placing them in dialogue with contemporary
technologies. Combining techniques such as nail loom and heat-adhesive bonding, crochet and 3D printing, lacework and laser cutting. The artisanal process, a knowledge embodied through oral tradition and the presence of weaving hands, unfolds into forms that no longer conceive threads as interwoven warp and weft, leading to a textile made of layered
densities and silences, establishing a distinctive poetics, where form and counterform alternate in a continuous process of crafting three-dimensional aerial works – as in the artwork Velaturas, which is given rise by layers obtained from the negative fabrics of the artwork Music Score.
The artist creates a state of suspension through threads, precise cuts and seams, knots and voids, where the lightness of each piece expands across different scales – sometimes interacting with the movement of the body, as well
as engaging with the space, constructing textile installations.



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RENATA MEIRELLES


Brazilian


Velatura, 2013
16 x 12 x 8 in
Credit: Renata Meireles



What constitutes one’s identity? What lies at the foundation and structure of their being? What enables someone to embrace the unknown without fear, to weave the uncharted, the unfamiliar, the untold?


For Renata, the answer resides in pursuing alternative paths, without severing her roots. A return to Brazilian craftsmanship, engaging in hands-on experimentation with master artisans of basketry, sewing, and weaving, incorporating these practices and placing them in dialogue with contemporary
technologies. Combining techniques such as nail loom and heat-adhesive bonding, crochet and 3D printing, lacework and laser cutting. The artisanal process, a knowledge embodied through oral tradition and the presence of weaving hands, unfolds into forms that no longer conceive threads as interwoven warp and weft, leading to a textile made of layered
densities and silences, establishing a distinctive poetics, where form and counterform alternate in a continuous process of crafting three-dimensional aerial works – as in the artwork Velaturas, which is given rise by layers obtained from the negative fabrics of the artwork Music Score.
The artist creates a state of suspension through threads, precise cuts and seams, knots and voids, where the lightness of each piece expands across different scales – sometimes interacting with the movement of the body, as well
as engaging with the space, constructing textile installations.



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Roxana Casale


Argentinian


Roaring Tempest, 2023
18 x 18 x 2,5 in
Credit: Roxana Casale


Elegy Series:


“...few would care to witness this
Drama, for my people are as birds with
Broken wings, left behind the flock... “
(Khalil Gibran)


Displaced, illegal, undocumented, refugees... People exposed to violence who make the extreme decision to flee their places of origin regardless of the risks of running. The routes, whether by land or sea, are as dangerous as the situations that are abandoned. The degree of vulnerability during the journey is still very high, and is undoubtedly even greater for women and children, who are often left lagging behind or meeting even more painful and terrible fates.


Dispossessed of all humanity, those who do not reach their destination become abandoned bodies, then to bones, which, like those of the animals that live on those routes, fragment, erode, and blur. They are thus forgotten. Before leaving, their mothers, aunts, and grandmothers embroider names and phone numbers onto their clothing. Hopefully, this information can facilitate an eventual reunion, so greatly desired, or the identification of those who do not succeed.


Textiles become a nexus, a hope, and often also a protest. Thread and blood have been understood since time immemorial. The thread is a metaphor for blood, but also for destiny: a kind of bridge between those who left and those who were left behind.



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Roxana Casale


Argentinian


Very Few Care, 2024
157 x 19 x 2 in
Credit: Roxana Casale


Elegy Series:


“...few would care to witness this
Drama, for my people are as birds with
Broken wings, left behind the flock... “
(Khalil Gibran)


Displaced, illegal, undocumented, refugees... People exposed to violence who make the extreme decision to flee their places of origin regardless of the risks of running. The routes, whether by land or sea, are as dangerous as the situations that are abandoned. The degree of vulnerability during the journey is still very high, and is undoubtedly even greater for women and children, who are often left lagging behind or meeting even more painful and terrible fates.


Dispossessed of all humanity, those who do not reach their destination become abandoned bodies, then to bones, which, like those of the animals that live on those routes, fragment, erode, and blur. They are thus forgotten. Before leaving, their mothers, aunts, and grandmothers embroider names and phone numbers onto their clothing. Hopefully, this information can facilitate an eventual reunion, so greatly desired, or the identification of those who do not succeed.


Textiles become a nexus, a hope, and often also a protest. Thread and blood have been understood since time immemorial. The thread is a metaphor for blood, but also for destiny: a kind of bridge between those who left and those who were left behind.



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SARAH FUENTES
& CAMILA SALAMANCA


Colombian



C.R.E.A The Artist’s Journey, 2024
6’ 30”
Credit: Juan José López and David López


The artistic practice of Camila Salamanca and Sarah Fuentes explores the intersection of movement and technology, where both the human body and digital elements take equal roles in the performance space. Their work delves into the overlooked moments of everyday life—emotions, personal experiences, and nuances that shape the human condition. By bringing these moments into the spotlight, they aim to transform them into evocative, tangible experiences that resonate with the
audience.


Their creative process begins with thorough research and exploration of a given theme, blending visual studies with movement exploration. They examine how the body moves in space and how it interacts with technological elements, constantly testing and refining their ideas until the movement and visuals come together in perfect harmony. The duo embraces a collaborative approach, where experimentation drives the design of each
piece.


For Camila and Sarah, it is essential that the body and the digital space coexist as equals, creating a dynamic interaction where each influences the other. Their work uses tools such as Kinect sensors, TouchDesigner, and After Effects, allowing real-time interaction between the performer and visuals, creating a continuous flow that reflects their belief in the symbiotic relationship between human and digital elements.


Their natural drive for exploration pushes them to continuously challenge the boundaries of contemporary performance. Passionate about discovering new artistic languages, they create works that merge dance, technology, and visual art to explore the limitless possibilities of human expression and technological interaction.






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Susana Olaio


Portuguese


Covilhã, 2022
38 x 48,4 x 2,7 in
Credit: Susana Olaio



The work explores the relationship between the artwork and the viewer through the use of various techniques, tools, and materials. It privileges the natural world as a source of inspiration and resource for raw materials, with the word “transformation” being central.


Oriental philosophies, such as Wabi-sabi, guide the conception of the artworks, respecting the essence of the materials. The author’s intervention arises from the need to bring this very essence to the surface, revealing the true nature of the materials. From natural pigments to sculpted paper and video, the multidisciplinary body of work manifests as an experience of sensory sublimity.


The artistic creation seeks to challenge the viewer’s perception, providing a reflection on the beauty found in imperfection and transience. The goal is to create an emotional and sensory connection, allowing the viewer a new form of contemplation and interaction with the artwork.


By working with oriental philosophies like Wabi-sabi, the author aims to highlight the beauty in imperfection and transience, proposing a new perspective on artistic creation. The work, by integrating natural elements and modern technologies, offers a profound reflection on the relationship between art and nature, as well as the transformative capacity of the materials used.



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Susana Olaio


Portuguese


Desmaterialização, 2023
95 x 86,6 x 1,1 in
Credit: Susana Olaio



The work explores the relationship between the artwork and the viewer through the use of various techniques, tools, and materials. It privileges the natural world as a source of inspiration and resource for raw materials, with the word “transformation” being central.


Oriental philosophies, such as Wabi-sabi, guide the conception of the artworks, respecting the essence of the materials. The author’s intervention arises from the need to bring this very essence to the surface, revealing the true nature of the materials. From natural pigments to sculpted paper and video, the multidisciplinary body of work manifests as an experience of sensory sublimity.


The artistic creation seeks to challenge the viewer’s perception, providing a reflection on the beauty found in imperfection and transience. The goal is to create an emotional and sensory connection, allowing the viewer a new form of contemplation and interaction with the artwork.


By working with oriental philosophies like Wabi-sabi, the author aims to highlight the beauty in imperfection and transience, proposing a new perspective on artistic creation. The work, by integrating natural elements and modern technologies, offers a profound reflection on the relationship between art and nature, as well as the transformative capacity of the materials used.



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UCA DEA


Romanian


His wrath, 2025
20 x 17.5 x 0.2 in
Credit: Raluca Dordea


Equally right- and left-brained, Uca embodies a constant struggle between logic and creative spontaneity.


Her preferred medium is an unpopular 0.03”-thick cotton thread. Her unconventional use of it allows Uca to bring a textural and tactile quality to her work, resulting in pieces that are as intricate as they are distinctive and delectably unique. Art amazes and fascinates Uca because it makes her think about the human who created it. She often finds herself falling a little in love with the human mind and spirit behind a piece. Through her own art, she hopes to evoke similar feelings in others.


Uca’s journey began in her childhood, inspired by her grandmother’s embroidery. Mesmerized by how simple, colorful threads were transformed into intricate designs, Uca developed a fascination with the medium. Though she never learned to embroider, she borrowed threads from her grandmother, driven by curiosity but with no clear plan. One day, she asked her father for materials to experiment with, and he provided dozens of 1.5x1.5-inch wood squares cut from a log. These blank canvases awaited transformation. Uca began gluing her grandmother’s threads onto them, creating colorful brooches with bold, unexpected color combinations. These designs showcased her innate creativity and innovation. Selling her brooches at artisan fairs and online marked the start of her artistic journey.


Years later, Uca revisited this technique on a larger scale, working with bigger pieces of wood or plywood. This evolution allowed her to expand the scope and complexity of her art while staying true to her original approach. Uca’s works redefine traditional materials and feature abstract shapes and unusual color combinations created intuitively, while also incorporating intricate patterns that invite viewers to dive deeper into the work to discover them.



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UCA DEA


Romanian


Tangled Feelings, 2024
11.5 x 16.4 x 0.2 in
Credit: Raluca Dordea


Equally right- and left-brained, Uca embodies a constant struggle between logic and creative spontaneity.


Her preferred medium is an unpopular 0.03”-thick cotton thread. Her unconventional use of it allows Uca to bring a textural and tactile quality to her work, resulting in pieces that are as intricate as they are distinctive and delectably unique. Art amazes and fascinates Uca because it makes her think about the human who created it. She often finds herself falling a little in love with the human mind and spirit behind a piece. Through her own art, she hopes to evoke similar feelings in others.


Uca’s journey began in her childhood, inspired by her grandmother’s embroidery. Mesmerized by how simple, colorful threads were transformed into intricate designs, Uca developed a fascination with the medium. Though she never learned to embroider, she borrowed threads from her grandmother, driven by curiosity but with no clear plan. One day, she asked her father for materials to experiment with, and he provided dozens of 1.5x1.5-inch wood squares cut from a log. These blank canvases awaited transformation. Uca began gluing her grandmother’s threads onto them, creating colorful brooches with bold, unexpected color combinations. These designs showcased her innate creativity and innovation. Selling her brooches at artisan fairs and online marked the start of her artistic journey.


Years later, Uca revisited this technique on a larger scale, working with bigger pieces of wood or plywood. This evolution allowed her to expand the scope and complexity of her art while staying true to her original approach. Uca’s works redefine traditional materials and feature abstract shapes and unusual color combinations created intuitively, while also incorporating intricate patterns that invite viewers to dive deeper into the work to discover them.



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Verónica Garrido Cordova


Chilean


Ocean’s Tears, 2021
14 x 7 x 4 in
Credit: Verónica Garrido Cordova


“The Charm of Deterioration” is the name of Verónica’s new proposal. With her creations, she wants to celebrate the fragility, subtlety, and strength of the world of natural fibers, capturing the unique glow of leaf skeletons, those very different veins because they are the vascular tissue of the leaf of a plant and the sap circulates through them, communicating the organs of the leaves with the rest of the plant, the shapes of the curvilinear roots that emerge from the earth. Here, there is an immersion in cycles of life, beauty, decay, and stillness.


Works that reflect a spontaneous work method, with easily available material and without limitations, that despite the digitalization that exists, and more to come, nature has immense power. It is a work that already exists; Verónica just invites and helps us to open our senses and connect.


Natural threads are within reach; it is pure magic what we have before our eyes. In our nature, there is always hope, and you can start over; nothing is lost.



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Verónica Garrido Cordova


Chilean


Sunrise, 2021
6 x 5 x 2 in
Credit: Verónica Garrido Cordova


“The Charm of Deterioration” is the name of Verónica’s new proposal. With her creations, she wants to celebrate the fragility, subtlety, and strength of the world of natural fibers, capturing the unique glow of leaf skeletons, those very different veins because they are the vascular tissue of the leaf of a plant and the sap circulates through them, communicating the organs of the leaves with the rest of the plant, the shapes of the curvilinear roots that emerge from the earth. Here, there is an immersion in cycles of life, beauty, decay, and stillness.


Works that reflect a spontaneous work method, with easily available material and without limitations, that despite the digitalization that exists, and more to come, nature has immense power. It is a work that already exists; Verónica just invites and helps us to open our senses and connect.


Natural threads are within reach; it is pure magic what we have before our eyes. In our nature, there is always hope, and you can start over; nothing is lost.



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