Imperfection I

I don’t usually have any specific image in mind when I start an artwork. I find it more interesting to create these shapes and images using the core characteristics of each material – what I see as a type of nature – as well as allowing my hands to move in an unconstrained way, only controlled by my subconscious mind. There are times when I don’t see the result as I do not work directly with the final image; rather, I embroider on the backside of the work. I simply work my way through the textile using touch and incorporate the materials under the canvas as I embroider.

Conceptually, the mental landscape is created by the different layers of memory that are always in constant change, which lose details and become intertwined with each other. I capture time in the form of abstract spots, making the hours take on a physical and material aspect. I see this as an expression of the uncontrollable nature of memories

I have always been interested in haute couture because of its connection to unique, timeless, and long-term pieces, but also the search for new ways of converging different disciplines. I studied Fine Arts and Scenography in Madrid. At that time, I developed different artistic works, focused on paintings and installations.

I came across haute couture embroidery techniques by chance in 2012 when at L’École Lesage in Paris. Since then, I have persistently investigated and deepened this discipline within my own practice. Finally, it became the basis of my artistic language, within a more conceptual and abstract framework. These techniques gained my highest respect and esteem while I was studying them. At the same time, they showed me a new creative and technical world that I had to explore, outside of ornament and clothing.

I found my voice as an artist through my involvement with haute couture techniques, although this was never what I set out to do by studying them.

It is quite difficult to choose just one! Every material has led me to their properties in more depth, playing with their limits and possibilities. This is my favourite part of the process. If I had to choose one, I would say that I have a special place in my heart for vegetable papers because they offer different transparencies and practical difficulties that make the process even more challenging. I like finding a way to embroider contrary from the conventional rules.

I am excited to use other material in new projects I am working on. For instance, I have just started to develop semi-transparent sequins. They are so subtle that sometimes I forget that I’m using sequins and not layers of watercolour!

Of course, I am concerned about the sustainability; not only of the fashion industry but also from the world’s consumption. My artistic processes, as well as my way of living and consuming art and design, are consistent with this concern.

My work, whether intentionally or not, is marked by the repetition of the same gesture as opposed to industrial rhythm. This procedure is an unhurried, costly, and repetitive process, which I use almost as a mantra: it allows me to reach deep meditative states. In my opinion, it is necessary to reflect on mass consumerism and the fast pace at which we live. I consider myself lucky to stop this fast rhythm while I am working. Therefore, I am also interested in the need to reflect on time; accounting for it and giving it proper value.

Fortunately or unfortunately, I always have work in progress! Actually, I am continuing with the exploration in large formats, exalting the very nature of the material without control in it and entering, in a deeper way, in the same act, more than in the technique. These processes are bringing me, once again, to a more pictorial dimension, of many nuances and layers.

In June 2022 I will take part in an art fair in Paris, called “Salon Révélations”, at the Grand Palais. It is a fair on Arts & Crafts which makes me very excited, due to the quality of the fair and also because it’s my return to Paris, where all my embroidery career started. It will be a great opportunity to show my latest works.

Also, I may have another solo exhibition at the end of 2022, but this is yet to be confirmed – but stay tuned!