Collage made from multiple patterns. Series of 5 collages:
· Extended Pattern 1: 160 × 140 cm
· Extended Pattern 1: 160 × 140 cm
Extended Patterns // 2024
The expanded patterns I present initially emerged as the foundation for the acrylic silhouettes of my textile sculptures, within the textile creatures process. Inspired by the fragmentation and recomposition of garment templates found in magazines like Burda, these hybrid patterns soon ceased to follow the logic of a functional body and acquired a symbolic presence of their own.
As the project evolved, the patterns grew and eventually emancipated themselves from the strictly sculptural field, becoming autonomous works —interdependent, yet with singular value.
This process resonates both formally and conceptually with Daniel Libeskind’s “impossible plans” for the Jewish Museum in Berlin: as in his architecture, fragmentation, displacement and absence articulate a memory of what is lost and what cannot be represented.
Thus, my patterns do not aim for utility or symmetry. Instead, they map hidden relationships, absent bodies and displaced subjectivities, generating a textile spatiality that functions as a sensitive archive.
While some still dialogue with the acrylic sculptures —whose structures resemble transparent hangers holding the material memory of multiple lives— I am currently exploring the expanded patterns as independent pieces, capable of containing that emotional Frankenstein: assemblages of memories, gestures and fragments of identity sewn from absence. Each one proposes an impossible surface, like an affective map or architectural plan where the textile speaks both of what is visible and what remains hidden.
Madrid, 2024.
· Extended Pattern 1: 160 × 140 cm
· Extended Pattern 1: 160 × 140 cm
Extended Patterns // 2024
The expanded patterns I present initially emerged as the foundation for the acrylic silhouettes of my textile sculptures, within the textile creatures process. Inspired by the fragmentation and recomposition of garment templates found in magazines like Burda, these hybrid patterns soon ceased to follow the logic of a functional body and acquired a symbolic presence of their own.
As the project evolved, the patterns grew and eventually emancipated themselves from the strictly sculptural field, becoming autonomous works —interdependent, yet with singular value.
This process resonates both formally and conceptually with Daniel Libeskind’s “impossible plans” for the Jewish Museum in Berlin: as in his architecture, fragmentation, displacement and absence articulate a memory of what is lost and what cannot be represented.
Thus, my patterns do not aim for utility or symmetry. Instead, they map hidden relationships, absent bodies and displaced subjectivities, generating a textile spatiality that functions as a sensitive archive.
While some still dialogue with the acrylic sculptures —whose structures resemble transparent hangers holding the material memory of multiple lives— I am currently exploring the expanded patterns as independent pieces, capable of containing that emotional Frankenstein: assemblages of memories, gestures and fragments of identity sewn from absence. Each one proposes an impossible surface, like an affective map or architectural plan where the textile speaks both of what is visible and what remains hidden.
Madrid, 2024.