NATURAL IMPRESSIONS

Natural

Impressions

Textile Art and Mixed Media

2003-2023

Rodrigo Franzão

Museu Têxtil

Natural

Impressions

Natural

Impressions

Textile Art and Mixed Media

2003-2023

Rodrigo Franzão

Museu Têxtil

New Orleans, USA

All rights reserved and protected by Law 9.610 of 02/19/98. Whole or partial reproduction, by any means,

without the prior written authorization of Museu Têxtil is prohibited.

Project:

Museu Têxtil

Cover design, editor and curator:

Rodrigo Franzão

English translation:

Flávio Augusto de Oliveira

Copyright ©

Museu Têxtil, New Orleans, 2023

www.museutextil.com

Book cover:

UNTITLED, 2022 (Dtl.)

by Ruben Marroquin, p. 137

This exhibition was organized in a virtual layout, viewing room, and 360º virtual tour, with free classification

and free entrance provided to Museu Têxtil. The use of the images to compose the virtual exhibition “Natural

Impressions” (August 20, 2023 - November 30, 2023) has been authorized by the respective artists for Museu

Têxtil through signed consent forms. No image should be used or reproduced from this book for commercial

purposes without the authorization of Museu Têxtil.

The book was edited for Museu Têxtil

by Rodrigo Franzão.

ISBN: 978-65-998488-1-0

Printed by Blurb, Inc. in San Francisco, CA, USA.

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 area.

Art is a fusion between 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 inserted.

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 uses different media formats, such as audiovisual, exhibition projects, and

thematic or free programs, to display artworks in its virtual environment in 360 degrees. These works

emphasize the importance of textiles in the history of art, in 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 importance 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 done 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 rescue 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 the visiting public.

Museu Têxtil

index

CURATOR’S STATEMENT 8

ARTISTS & ARTWORKS 10

CAROLINA CARUBIN 12

LAURA RAMIREZ GARCIA 14

LIA PORTO 16

MÓNICA FIERRO 18

SILVIA TURBINER 20

VERÓNICA RYAN 22

KASIA TONS 24

RACHAEL WELLISCH 26

BRUNA OCTAVIANO 28

CRISTINA LISOT 30

FERNANDO SOARES 32

GABRIEL PESSOTO 34

LUCIANA DE CARVALHO MONTEIRO 36

MARIANA PORTO 38

MAURO FRAZÃO 40

VANESSA FREITAG 42

CECILIA ACEVEDO CASTRO 44

DENISE BLANCHARD 46

PAULA CERONI 48

IPHENO 50

IRINA LAAJA 52

ADELINE CONTRERAS 54

GUACOLDA 56

JULIETTE LEMPEREUR 58

MARIE POURCHOT 60

MURIEL MAIRE 62

SABINE FELICIANO 64

SÉVERINE GALLARDO 66

GAËLLE BOSSER 68

FRANZISKA WARZOG 70

MARTINA GRUND 72

LINDA MÄNNEL 74

SAPNA KARN 76

GEORGIA FAMBRIS 78

LARA ZAPPA 80

ERI IMAMURA 82

NATSUKO HATTORI 84

CARRY DOORN 86

CAROLINA VAZ 88

SÓNIA ANICETO 90

OLGA TEKSHEVA 92

ANNA CARMONA 94

MÉLANIE VINCENSINI 96

ELLEN DYNEBRINK 98

KERSTIN LINDSTRÖM 100

KRISTINE STATTIN 102

MURIEL DÉCAILLET 104

GÖZDE JU 106

LOUISE HEIGHES 108

OLGA RADIONOVA 110

AMELIA NIN 112

ARIADNA PASTORINI 114

BARBARA BRYN KLARE 116

CATHY JACOBS 118

CHARLOTTE SCHMID-MAYBACH 120

COURTNEY COX 122

JASON KRIEGLER 124

JULIA COUZENS 126

KATHERINE HUNT 128

KRISTINA PENHOET 130

LINDA FRIEDMAN SCHMIDT 132

MO KELMAN 134

RUBEN MARROQUIN 136

STAR TRAUTH 138

EXHIBITION 140

ARTISTS BIOGRAPHY 152

ARTISTS INDEX 162

CREDITS 164

BIBLIOGRAPHY 166

curator’s statement

The exhibition “Natural Impressions” aims to explore, in a philosophical manner, the mutual

relationship between human nature and creativity. Each artwork exhibited in the show offers a unique

opportunity for reflection on the aspirations and visions of the artists, reinforcing the importance of

art as a living connection to the human essence, beyond being a mere reproduction of nature. Art

becomes a bridge between subjectivity and reality, inviting the spectator to contemplate the complex

interaction between the human being and the world, awakening in them the intimate, inventive, and

cognitive potential, revealing the transformative power of art.

While navigating through the artworks created by talented and skillful artists, the audience

engages in this interaction, reflecting on the importance of human expression in unraveling the

complexity of the world. Each artist reveals their creative potential uniquely, inviting the observer

to immerse themselves in an inexhaustible source of inspiration. Furthermore, the exhibition seeks

to raise awareness among the audience about the significance of human creativity in contemporary

times, in a context where artificial intelligence is gradually replacing human intellectual work. Thus, the

artworks presented in the exhibition reclaim creative, aesthetic, and cultural perceptions and values

that are an integral part of human existence.

Through the 136 artworks on display, the audience will have the opportunity to observe how

these creative perceptions of the artist integrate naturally and evocatively into the world, resulting

in significant transformations and expanding the perspective of our own being. The ability to create

and appreciate art goes beyond superficial observations, enabling a deeper appreciation of essence

and beauty. This aesthetic perception awakens emotional responses and stimulates the search for

meaning, revealing the inherent existence of human beings.

Therefore, the “Natural Impressions” exhibition highlights the similarities between natural

beauty and artistic beauty, promoting a critical and reflective discussion that allows the audience

to explore the diverse facets of what is considered beautiful. This intimate investigation significantly

contributes to the understanding of aesthetics and the human capacity to appreciate beauty in the

multiple manifestations present in cultural perspectives that are part of the process of society’s

evolution.

The 64 artists from 22 different nationalities selected for this exhibition not only enrich

our consensus on artistic expression and cultural perspective but also expand our understanding of

nature and its representation in the arts. This reflective approach challenges established conventions,

allowing for diverse interpretations and representations of the world. It awakens human consciousness

to the source of inspiration that the capacity to imagine represents, encouraging the audience to reflect

on their relationship with the world and recognize the importance of art as a profound connection with

the intrinsic essence of humanity.

Rodrigo Franzão

Curator

9

artists & artworks

11

CAROLINA CARUBIN

Buenos Aires, Argentina

What bonds exist between the plant

and animal worlds? Does life emerge

from these crossings? Can these

worlds coexist and survive? Carolina

Carubin’s soft sculptures are textile

bodies that submit to the forces of

nature. Gravity, weight, and balance

actively act in the pieces, generating

deformations and revealing the vital

dimension of the structures. The

fiber weaves suffer from the natural

consequences of being the network

that conforms everything that moves

and lives: nerves of plants, feathers of

a bird, or even our neuronal networks.

In their existence, traces of the animal

universe are imprinted, which present

themselves in imprecise textures of

rare beauty and volumes that suggest

figures in germination. Just like the

maternal body, the fibers swell, wear

out, and transform until they evolve

into abstractions. Between tension

and harmony, an affective community

emerges from these relationships,

containing within itself the vegetable

and the animal and, perhaps, the

possible mutations that arise from this

interaction.

12

SURVIVAL FAMILY LANDSCAPE, 2023

Knitting in natural fibers

98.4 x 59 x 15.7 in (250 x 150 x 40 cm)

PULSIONS, 2023

Weaving with natural fibers

78.7 x 43.3 x 5.9 in (200 x 110 x 15 cm)

13

LAURA RAMIREZ GARCIA

San Juan, Argentina

Laura works on her technical weaving

and sewing projects in two and three

dimensions. There is a personal search

by the artist to create works where she

can experiment with simple materials,

such as common sewing thread or

jute plant fiber. Her themes arise from

reflections on experiences that are as

personal as they are universal, due to

their humanity.

14

PRESENCIA PLENA, 2021

Embroidery and hand weaving

31.5 x 31.5 x 2.3 in (80 x 80 x 6 cm)

15

LIA PORTO


With a multidisciplinary practice

grounded in painting and drawing, Lia

incorporates embroidery, collages, and

installations to explore and interrogate

cultural identities, transcultural

influences, gender roles, social

standards, aesthetics, borders, and

permeability. She uses the domestic

space and its relationship with the

natural world as a model for this

investigation, and ornamentation as

the visual language that better evokes

symbolic links between these worlds.

16

HYBRIDIZATIONS 1, 2022

Hand embroidery, hand sewing, crochet and acrylic

painting on fabrics

43.30 x 23.62 in (109.9 x 59.9 cm)

HYBRIDIZATIONS 2, 2022

Hand embroidery, hand sewing, crochet and acrylic

painting on fabrics

47.24 x 27.55 in (119.9 x 69.9 cm)

17

MÓNICA FIERRO


The artistic practice consists of

rescuing books from oblivion and

transforming their main material

(paper) into new objects. Books are

sometimes gifted with the hope that

they will be given new life and not end

up in the trash. In many cases, books

are chosen for their somewhat thick

papers which, over time, have acquired

a tea-colored hue, as they are often

more than 50 years old.

Depending on the work, the paper is

cut, rolled, trimmed, and folded. The

thickness of the paper is also taken into

account to create a good combination.

When creating sculptures, the paper

is cut into strips and then made into

small rolls that are glued together with

vinyl glue. Each roll maintains the

same format, although each one is

unique and different. The work grows in

dimensions by proliferating units: first

3, then 6, until it becomes innumerable.

The assembly is premeditated. Up

close, it is possible to identify some

words, fonts, and illustrations contained

in the original material, giving rise to

new meanings. The paper, along with

the words contained within it, coexist

with their stories, sounds, and textures.

Rebirth is possible.

BICHOS, 2022

Paper

17.7 x 62.9 x 9.8 in (45 x 160 x 25 cm)

18

TÍTULO 30 DE LA SÉRIE RECORTES, 2023

Paper

70.8 x 70.8 x 1.57 in (180 x 180 x 4 cm)

19

SILVIA TURBINER


When she first started pulling and

playing with bast fibers, it reminded her

of how she feels when swimming—the

same kind of movement and lightness.

Paper is a versatile material, full of

poetry, delicate yet strong, smooth

and structured, created in water and

shaped in water. Silvia enjoys seeing

the whole process through, from

the beginning to the very end. She

gathers the plants, dries them, soaks

and cooks the fibers until they stand

as sculptures or float from the ceiling.

She loves feeling the tactility of the

surface and watching how it becomes

a strong yet vulnerable skin that bends

and flows with her breath. Her works

are about identity and the quality of

existence. They are about memories

and heritage that appear through

different layers of fiber webs.

AESTHETIC LIGHTNESS, 2016

Handmade paper, hand cut

118.1 x 23.6 in (300 x 60 cm)

COVERING THE VOID, 2022

Handmade kozo lacey

90.5 x 74.8 in (230 x 190 cm)

Artwork showcased in the form of video art.

0’37’’

20

BIG BANG, 2018

Handmade paper

110.2 x 51.1 x 39.3 in (280 x 130 x 100 cm)

THE FRAGILITY OF EXISTENCE, 2021

Basketry

57.4 x 31.4 in (146 x 80 cm)

21

VERÓNICA RYAN

Capilla del Señor, Argentina

What is the relationship between time

and memory? Outside of time, there is

no memory. What interests me is the

time that differs from the present we

perceive, a time that doesn’t take into

account days and weeks, but instead

follows nature’s rhythms. Thus, I ally

myself with the earth to create, in an

effort to reestablish that primordial

connection. The earth I inhabit, the

ties that inhabit me... Earth and ties

are part of a whole that informs me.

Where do I draw the line that separates

me from the earth? What is the limit

that separates me from others? How

do I recognize myself outside of

them? I use textiles as a record, an

indisputable witness of the passage

of time that will reveal the secrets the

earth keeps to itself. Textiles become

a first and last skin, where memory

becomes a trace, scar, absence...

and also serves as a reminder of a

lived life, the time that I am, a transit

and passenger. Earth inhabits and

enables me, as I am both witness and

participant, guest and host... Through

my work, I seek to shed light on that

primordial, everlasting relationship and

explore that elusive and untamed time.

IRUPÉ, 2022

Oil on canvas buryed abd unearth, hand stitched

with silk threads

31.4 x 25.5 in (80 x 65 cm)

22

LA TEOFILA, 2022

Oil on canvas buryed abd unearth, hand stitched

with silk threads

61 x 57.4 in (155 x 146 cm)

23

KASIA TONS

Peramangk and Kaurna Lands, Australia

1 2

3 4

24

5 6

SYMBIOCENE, 2022

Blanket, handembroidery

40.5 x 57 in (103 x 145 cm)

1, 2, 3, 4, 5, 6

CITRUS SKIN BALAKLAVA, 2022

Hand stitched citrus skin

7.4 x 7.4 x 7.4 in (19 x 19 x 19 cm)

These pieces are part of a larger body

of work called “Biotic Commune” that

originated from a yearlong residency

at the Botanic Gardens of South

Australia. They represent cultural

artifacts from an imagined future

society in which the Anthropocene has

been replaced by the Symbiocene*

era. The Biotic “Communers” inhabit a

world characterized by collaboration,

composting, and regeneration,

reminiscent of our early ancestors’

way of life. The Symbiocene blanket is

meticulously hand-embroidered using

wool and cotton. It portrays the life

of the Biotic Commune, where plants

have reclaimed houses and planes,

and various fungi and plant species

work together to purify waterways

and soil. The blanket also showcases

examples of composting funerals and

the utilization of mycelium as a building

material. The Citrus skin balaclavas

(1/6) are inspired by the mask

traditions of activist groups like Pussy

Riot and the Guerrilla Girls. The series

of six balaclavas symbolize collective

causes or ideas that transcend

individuality. In this particular case,

the cause represents a commitment

to redefining humanity’s role on Earth

as caretakers rather than exploiters

of the natural world. The balaclavas

are crafted with a base of cotton and

beeswax, adorned with assorted

dehydrated citrus peels that are handstitched

onto them.

*Symbiocene is a term coined by

Australian philosopher Glenn Albrecht

to describe the era that is anticipated to

succeed the Anthropocene. It signifies

a time of “living together” when humans

nurture the life on Earth rather than

destroy it.

25

RACHAEL WELLISCH

Brisbane, Australia

These works are part of a photographic

series taken of large textile

installations. Household waste, such

as discarded clothing, bedsheets, and

tablecloths, has been deconstructed,

dyed, and stitched together into draped

layers. Starting from the paddock to

the final product, the materials are

worn thin and discarded, diverting

them from the landfill and offering a

different landscape. Conceptually, they

draw on the painting term “atmospheric

perspective,” where water particles

in the atmosphere affect perception.

For example, hills in the distance may

appear blue, and by incorporating

receding blues in a painting, this

phenomenon is simulated to create an

illusion of depth.

ENFOLDED LANDSCAPE 2, 2023

Photography on textiles

78.7 x 51.1 in (200 x 130 cm)

26

ENFOLDED LANDSCAPE 8, 2023

Photography on textiles

78.7 x 51.1 in (200 x 130 cm)

27

BRUNA OCTAVIANO

São Paulo, Brazil

ELSA, 2021

Loom

31.4 x 39.3 in (80 x 100 cm)

28

Bruna Octaviano employs traditional

methods and techniques, such as kilim,

while allowing her intuition and hands

to flow and conducting experiments,

particularly with the use of colors. Her

artworks imbue spaces with value and

evoke a sense of playfulness, nature,

and imagination. She draws inspiration

from organic shapes and forms found

in nature and explores them with the

dedication of a researcher and the

vision of a sculptor.

MY LITTLE BUTTERFLY, 2022

Loom

57.4 x 62.9 in (146 x 160 cm)

29

CRISTINA LISOT

Caxias do Sul, Brazil

DUPLO EM MOVIMENTO, 2023


0’20’’

Artwork in collaboration with

the visual artist Angela Pimentel

30

Cristina works across the performing

arts, visual arts, and body sciences,

intertwining knowledge and

experimenting with vocabularies

in these fields. She has a deep

familiarity with the scent of sewing,

having been born amidst over a

hundred fabric-stitching machines.

Her upbringing was shaped by her

parents, an entrepreneurial tailor and

an art teacher. Scissors, long weaving

needles, short sharp ones for piercing,

glue, paints, fabrics, ribbons, gardens,

swings, and her very own dollhouse

created the foundation from which

she draws inspiration. She engages in

knitting, sewing, unraveling, spinning,

and a bit of embroidery. She moves,

observes, investigates, and sniffs,

finding hooks for her attention in

the blooming flowers around her.

With threads, she creates loops to

release unspoken words, those that

are like foam, simultaneously hidden

and explicit. She unravels her own

entanglements, striving to clarify and

untangle her reflections on what the

human body and movement truly mean

to her. It is the place where everything

begins and ends, forming the circle,

the cycle, the cylinder. It encompasses

worlds between life and death, above

and below the ground, inside and

outside, right side and reverse. The

body, embraced by the skin and its

shadow, embodies the incredible

concreteness of atoms dancing to

the beat of complex and rhythmic

reactions, representing our very

existence. She explores movement to

discover poetry, to experience the joy

of sweating, and to engage in a gentle

romance with life. It encompasses

softness and delicacy, as well as the

requirement of physical strength and

a certain power to bend. It spans from

affection to force, from the very small to

larger than the body, always in relation.

The delicate old parchment paper,

previously tattooed with punctures,

becomes a canvas for embroidered

layers, revealing countless others.

Media and proportions highlight the

interconnectedness of the body,

memory, and movement, tracing

back to the beginning with fabrics,

ribbons, gardens, and swings. In an

effort to integrate various media that

involve the body, including textiles

and performance, and to expand

their expressive possibilities, Cristina

embarked on a collaborative journey

with Ângela Pimentel, a visual artist

who graduated as a photography

technologist from the University of

Caxias do Sul in 2018. Ângela’s

work has received recognition

through awards at the Costa Doce

Contemporary Art Salon and has been

published in Fotodemic magazine in

New York.

ESPECTRO, 2023

Lasca de basalto, mineral pigment printed on

cotton paper

25.9 x 38.1 in (66 x 97cm)



DUPLO, 2023

Mineral pigment printed on cotton paper

25.9 x 38.1 in (66 x 97cm)



31

FERNANDO SOARES

São Paulo, Brazil

Fernando Soares was born in São

Paulo in 1988, where he lives and

works. His work discusses the pictorial

nature of matter itself, starting from the

idea of dichotomy. He projects physical

and psychological tensions in his works

through paintings/objects, collages,

videos, and installations. Latex is used

as a raw material in many of his works,

which strains relations with the concept

of expanded painting and textile art.

IRRUPÇÃO 64, 2023

Latex on wooden frame

9.8 x 7 in (25 x 18 cm) ea.

32

IRRUPÇÃO 72, 2023

Latex on wooden frame

39.3 x 33 in (100 x 84 cm)

33

GABRIEL PESSOTO

São Paulo, Brazil

BATHROON’S MIRROR SELFIE, 2022

Embroidery, tapestry on wood display

66.9 x 13.7 x 11.8 in (170 x 35 x 30 cm)

Having grown up during the 1990s,

I had the opportunity to observe the

rapid process of culture’s digitization.

The same images circulated through

various media, transitioning from

analog to digital-virtual formats.

Concurrently, our relationship with

digital images and audiovisual

interfaces became a tool that

influenced our subjectivities. While

intimate and domestic material culture

played a role in shaping memories,

desires, and idealizations, the digital

image and audiovisual interfaces acted

as tools shaping our subjectivities

as well. Inspired by this vast visual

repertoire encompassing intimate,

amateur, and domestic experiences,

I blend different materialities, ranging

from video to textiles. Through this

fusion, I propose dialogues based on

patterns, codes, and programming,

encompassing both image and

behavior. This research manifests in

various forms, including video works,

installations, digital embroidery,

tapestries, and objects. The creative

processes underlying my work involve

editing, appropriation, collections,

parodies, and displacements. I use

traditional handicraft patterns as a

starting point for producing electronic

works, contemplating the presence of

decorative images in contemporary

interfaces. Similarly, disposable

images encountered during online

browsing are reimagined as tapestry

pieces, embracing traditional and slow

practices, while updating the patterns

embroidered within this medium. This

transition between media allows us

to perceive not only the materiality of

the images but also the pedagogical

aspect of visual production that occurs

within the intimate sphere. Often, this

production reinforces gender roles,

normative idealizations, and cultural

characteristics that have emerged

from colonization processes. In my

practice, I engage in collecting, editing,

weaving, and also contemplate the

relationship between the body and

these images. I position the pieces in

locations where they can be viewed

from everyday perspectives, alluding to

an architecture of everyday life.

34

THE QUILT THAT ALWAYS DELIGHTS, 2022

Embroidery, tapestry and wood display

31.4 x 57.4 x 70.8 in (80 x 146 x 180 cm)

35

LUCIANA DE CARVALHO MONTEIRO

São Paulo, Brazil

The maternal influence, through which

the artist was introduced to the world

of textiles, has been fundamental to

her training and artistic production.

It has enabled her to embark on the

path of the arts, bringing with her the

textile as a symbol of affection, female

strength, and endurance. In the set of

works that she has been developing

so far, weaving and embroidery have

been used as mediating elements

in conversations with other media,

focusing on the representation of

feminine experiences, ancestry, and

the affective memories woven between

“the self” and “the world”.

36

THE SKIN, 2020

Weaving with natural fibers and aluminum

49.2 x 37.4 in (125 x 95 cm)

37

MARIANA PORTO

São Paulo, Brazil

38

OY VIBRANTE EM VERMELHO, 2022

Linho, pigmento mineral, bordado e contas de vidro

46 x 33 in (117 x 84 cm)

The work of Mariana Porto (São

Paulo, 1974) revolves around fabric

as its primary medium. In addition

to chromatic research and material

combinations, her works explore the

boundaries between art and object,

often delving into a mythical space

through universal symbols. The artist

has been expanding her repertoire of

media and languages, exemplified by

performances and their documentation

in videos and photos, as well as the

occupation of architectural spaces

with textile installations. Collaborative

authorship also manifests in works

where the artist invites participation,

listening, and collaboration with

viewers. Having graduated in Fine

Arts from the Santa Marcelina College,

Mariana has exhibited her work at

the Museum of Art of the Federal

University of Ceará, where her pieces

are part of the collection, as well as

at Espaço Galpão (São Paulo), Sesc

Copacabana (Rio de Janeiro), and the

National Watercolor Museum (Mexico

City). In 2019, she founded Atelier 284,

an exhibition and cultural space in São

Paulo. She has conceived and directed

initiatives such as Jade Handmade,

focused on textile development and

special projects, and Objeto Design, a

studio for creating utilitarian products

using cast aluminum, sustainably

sourced wood, and blown glass.

OY VIBRANTE EM CINZA, 2022

Linho, pigmento mineral, bordado, contas de vidro

55.5 x 33.8 in (141 x 86 cm)

39

MAURO FRAZÃO

Recife, Brazil

AMAZÔNIA

“Nature is subjective, and no justification can describe its entourage.

Like in samba, it has sound and colors

It impresses with its noises

Through the force of river discharges

It enchants with its visuals

It’s magical

It sustains itself

Without it, human beings are nothing

How to explain such importance?

It’s like a dance that requires patience and dedication

Patience to contemplate the results of its existence

Dedication to protect this heritage.”

Mauro Frazão

40

AMAZONIA, 2023

Tufting

118.1 x 62.9 in (300 x 160 cm)

41

VANESSA FREITAG

León, Guanajuato, Mexico

NIDO DOMESTICADO, 2022

Textile

21.6 x 25.5 x 17.7 in (55 x 65 x 45 cm)

42

PEQUEÑO NIDO DE TOPIARIUS, 2022

Textile

17.7 x 13.7 x 14.9 in (45 x 35 x 38 cm)

In her work, the artist explores the

realm of textile language due to

her curiosity about the vast array of

material and technical possibilities

it offers. From crochet, sewing,

weaving, to embroidery, she delves into

each technique, seeking to uncover

their potential. Through the use of

second-hand materials, she conducts

experiments to construct, sew, and

shape objects and sculptures. The

resulting creations possess organic,

soft, and flexible forms that not only

intervene in physical spaces but

also evoke a realm of imagination.

The artist finds that textile materiality

stimulates a wide range of sensory

experiences, engaging both touch

and sight. It allows her to bring

tangibility to the landscapes she

visits, observes, and documents.

Additionally, she explores the intricate

life processes of organisms in the

botanical world, including their diverse

microorganisms. As a migrant body,

the artist sees both the language she

speaks and the materials and subjects

she studies as mechanisms to connect

with others and their contexts. Through

this process, a profound sense

of attachment and familiarity with

inhabited places is generated.

43

CECILIA ACEVEDO CASTRO

Talca, Chile

44

TESORO CALLEJERO, 2020

Crochet painting on plastic mesh

27.5 x 18.8 in (70 x 48 cm)

Through the fusion of kinesiology and

art, Cecilia’s work seeks to establish a

dialogue between seemingly disparate

disciplines. Using the technique known

as “crochet painting,” she breaks

barriers and explores new forms of

artistic expression. Her childhood,

marked by emotional restriction, has

sparked a profound interest in her to

experience and channel emotions

through art. What the artist seeks

is the recognition of the wide range

of emotions and facial expressions

that exist and to immerse viewers in

them. Using textile fibers and applying

knowledge in neuroscience, the artist

creates artworks that exert influence

from the outside, generating internal

reactions and offering a unique

multisensory experience to viewers.

Her goal goes beyond challenging

established conventions. She aspires

to establish a dialogue between art

and science, between the visual and

the tactile, and between emotions

and the senses. Each of her creations

is a testament to her overflowing

passion, a visionary outlook, and a

desire to expand the boundaries of

contemporary art. Through “crochet

painting,” she invites the viewer to

explore new forms of perception

and to experience the intersection

between the body, emotion, and

artistic expression. Her works are a

call to authenticity, to the exploration

of emotions, and to transcending the

limits imposed by society. Ultimately,

this art serves as a bridge between

seemingly disconnected worlds. It is a

canvas where the science of human

movement and the expressiveness

of art converge. Through this fusion,

she conveys a message of emotional

freedom and openness to new ways

of experiencing and understanding the

world. She invites viewers to explore

their own humanity and connect with

the essence of things, allowing their

feelings to be the bridge that guides

them towards greater understanding

and appreciation of the world that

surrounds them.

DIVA, 2021

Crochet painting on plastic mesh

39.3 x 25.5 in (100 x 65 cm)

45

DENISE BLANCHARD

Santiago, Chile

HABIT, 2019

Eco print on cotton fabric

59 x 15.7 ft (150 x 480 cm)

46

Her work is inspired by the captivating

visuals of the Bodegón environment,

particularly its lush vegetation,

greenhouse, and garden. She

meticulously collected and handpicked

a variety of vibrant flowers, shrubs, and

coastal plants, which she later used to

create prints on fabrics obtained from

local fairs in Los Vilos.

Comprised of forty-two modules

measuring 50 x 35 cm, her artwork

is crafted from printed cotton fabric.

To achieve unique color effects, she

treated the fabric with iron and copper

sulfates, bicarbonate, and natural

vinegar. The modules are connected at

their ends using cloth ties and cotton

threads, sewn and knotted together to

form a large vertically mounted cloth

that extends from the ceiling to the

floor. Throughout the creative process,

she closely observed the outcomes,

drawing connections to Jacques

Lacan’s mirror theory, a concept in

psychoanalysis. She found reflections

of ideas related to image, womanhood,

and transference within her work.

The work “Hábito” is an artistic

exhibition that explores the history of

the old Carmelian Nuns’ Monastery and

the transformations it has undergone to

become the cultural space it is today.

The central concept of the exhibition

is encapsulated in the meaning of the

word “habit”.

Composition: The work is an

installation composed of multiple

geometric modules generated from

the division of a rectangle. These

modules are joined together by sewing

with a basting stitch, resulting in a

construction without a predefined

structure or order. The joining process

occurs in a random and sometimes

controlled manner. These pieces

gradually acquire new geometric

shapes and volumes as the installation

progresses.

INTERIOR GARDEN, 2023

Hand sewing with basting stitch, Interlining thread

26.2 ft x 31.49 in (800 x 80 cm)

47

PAULA CERONI

Santiago, Chile

For 10 years, the artist has been

investigating the Pulled Thread

technique. “Sun Warning” is created

from a disused men’s shirt. The artist

works meticulously, extracting threads

to create figurative forms. This process

entails counting each thread of the

fabric, resulting in multiple optical

effects, such as gradients, movements,

and various tensions. The artist uses

colored threads as layers of paint,

creating a balance between the

extracted ones and the original fabric,

revealing figures that emerge through

the overlapping textiles. The artist

decides to use a red men’s shirt and

mix it with blue threads to represent

a sun seemingly traversing the fabric.

The choice of colors is crucial as this

sun has a harmful appearance, serving

as a cautionary symbol. It embodies a

sun that demands respect and care.

48

SUN WARNING, 2023

Unraveling of fabric

19.6 x 19.6 in (50 x 50 cm)

49

IPHENO

Limassol, Cyprus

Her heart is tuned to the quietness

that the stillness of nature inspires,

projecting a colorful shadow that fulfills

the space. Her work bears her main

characteristic as a weaving artist.

She uses the metallic fence as a

canvas with upcycled layers of fabric.

Currently, she is employing light colors

in her figures, trying to bring out her

own sensitivity at times. At the same

time, her figure is bold and big as she

is fascinated by the large scale of her

works. It takes time to complete an

image like this, but when she starts,

she stays focused until she sees it

finished.

50

OXYTOCIN, 2022

Upcycled fabrics on metallic fence

110.2 x 47.2 in (280 x 120 cm)

PEDESTRIAN, 2022

Upcycled fabrics

32.9 x 47.2 in (160 x 120 cm)

51

IRINA LAAJA

Malmö, Sweden

52

UNTITLED, 2021

Masonry string, filling

7 x 11.4 x 6.6 in (18 x 29 x 17 cm)

Irina Laaja is fascinated by the

complexity and significance of the

body—how something so concrete

and straightforward can also be so

complicated and difficult. She explores

how views on sexuality, normality,

and obscenity are interwoven in our

physique and subconscious. Her

artistic practice is both conceptual and

confessional, with a strong focus on the

process, the body, and the experiences

derived from it. Through her work, she

aims to address questions about the

nature of the body, its potentialities,

and the relationship between the

body and ourselves. Irina primarily

works with textiles and mixed media

sculpture, often employing techniques

and methods typically associated with

crafts and pattern cutting. Additionally,

she incorporates installation, video,

and performance into her artistic

repertoire. The choice of materials

holds great importance in her work,

and she strives to utilize as many

recycled, ecological, or environmentally

friendly materials and methods

as possible. Irina is drawn to the

limitations and challenges that come

with using second-hand materials, and

she finds intrigue in the emotional and

intellectual history of these objects.

BFF, 2023

Two identical wigs, filling, thread, chain

11.8 x 14.5 x 9.8 in (30 x 37 x 25 cm)

53

ADELINE CONTRERAS

Lyon, France

Adeline Contreras creates works that

explore our collective memory, archaic

animals, and timeless resurgence.

The representation of the first shelter

transcends eras, and today we refer

to this desire to find the initial state,

the protective shelter. It is a space of

transition between life, transformation,

and death. The sculptural forms evoke

the constant evolutions of humans

and animals. Adeline Contreras makes

us feel the existence of matter and

shows us these perpetual mutations.

She never ceases to create shelters,

which serve as examples of the infinite

possibilities to inhabit this world in

motion and find our place in balance.

Each work of art by Adeline Contreras

is a unique creation entirely made

by hand. It combines resolutely

contemporary research with traditional

craftsmanship. Adeline Contreras

mixes materials to create cohesive

compositions. Each sculpture is

the result of meticulous research,

collection, and assembly. Specific

requirements are considered when

choosing natural fibers, textiles, soil,

ashes, and clay. Adeline Contreras

mainly uses natural materials like

cotton and linen, which are dyed with

vegetable dyes. She collects fibers,

roots, and pieces of wood from her

immediate environment, ensuring

that each material endures the test

of time. Her ceramics are glazed with

the ashes she collects. Nature serves

as a true source of inspiration and an

inexhaustible supply of raw materials.

Adeline Contreras’ artistic journey has

led her to acquire various techniques

such as drawing, painting, engraving,

modeling, sewing, embroidery, and

bookbinding. This extensive knowledge

and skill set contribute to her sculptural

research.

54

SHELL, 2023

Cotton and ceramic

98.4 x 118.1 in (250 x 300 cm)

SHELL, 2023

Cotton, ceramic, tarlatan

106 x 39.3 in (270 x 100 cm)

GUACOLDA

Paris, France

The visual artist assembles, mixes,

braids, embroiders, and engraves

figures and mediums. The common

point in all her drawings, engravings,

paintings, and embroideries is the line.

It serves as a connecting element,

linking them together. The line acts as

an imprint, vibrating with energy and

color.

ARBRE, 2022

Embroidery

23.6 x 31.4 in (60 x 80 cm)

56

PAYSAGE, 2022

Embroidery

31.4 x 23.6 in (80 x 60 cm)

57

JULIETTE LEMPEREUR

Bruxelles, Belgium

BLUE YARN II, 2023

Weaving, brass, stem

39.3 x 19.6 in (100 x 50 cm)

Juliette Lempereur looks for ways

to capture the air – its lightness,

vaporousness, fuzziness, and

atmospheric, encompassing presence.

She seeks to depict its expanse,

transparency, color, and the sensation

of space, as well as the depth it adds

to the landscape. To achieve this, she

constructs supports made of threads

that are airy and colorful. These

supports can accommodate a woven

drawing, be stretched within a rigid

structure, or be left completely free

and fluid.

58

BIG BLUE, 2023

Wool weaving, iron stem

39.3 x 39.3 in (100 x 100 cm)

BLOOD, 2022

Crochet, embroidery, cotton and silk threads, pearls,

sequins and painting

17.3 x 15.7 in (44 x 40 cm)

59

MARIE POURCHOT

Montpellier, France

ON THE HANDKERCHIEF, 2022

Filaments of blood-crochet, embroidery, silk and

cotton threads, pearls and sequins

7.87 x 7.87 in (20 x 20 cm)

“SANG” is a project that explores

the concepts of culture, racial

discrimination, and identity. The

purpose of this work is to depict the

hostilities and violence experienced

by socio-cultural minority groups that

are deemed undesirable. Blood, a

red liquid that symbolically carries

hereditary traits and serves as a

vital element for our existence, is

also associated with death when it

is spilled. It runs through every part

of our body, making it a fundamental

principle of life. Marie Pourchot has

conducted work focusing on reflections

about identity and cultural diversity.

In this instance, she aims to develop

a creative project centered around

discrimination and racist crimes

occurring within different cultures and

in the context of exile. The approach

involves embroidering imprints of blood

and attacks onto textiles that represent

the original culture of the victimized

groups facing discrimination. The

objective is to symbolize the injustices

and violence committed in the name

of social dominance under the pretext

of race.The chosen textile medium for

this project is household linen, as it is

associated with the realms of intimacy,

domesticity, and the home interior. It

encompasses a multitude of issues

and carries significant cultural and

socio-economic dimensions. Linen,

being deeply intertwined with domestic

life, fully embraces this cultural

process. Its symbolic significance

can extend from a mere sheet to

that of a shroud, representing the

final sheet of one’s existence. Fabric

holds meaning, and every culture has

its own distinct textiles, even within

the realm of banners. Fabric serves

as a vessel of memory, history, and

identity. It supports culture and serves

as a medium for contemplating and

perceiving the world.

60

BLOOD, 2022

Crochet, embroidery, cotton and silk threads, pearls,

sequins and painting

17.3 x 15.7 in (44 x 40 cm)

61

MURIEL MAIRE

Saint-Lunaire, France

For her, the joy of the creative process

lies in successfully combining and

manipulating contrasting materials

such as textiles, organics, wood,

and cardboard, while also providing

a platform for natural materials

that would otherwise be discarded.

Frequently, her projects originate from

a specific material that she has in

mind, as she is driven by her desire

to incorporate it into her work. Her

inspiration draws from primitive arts,

archaeology, design, and contemporary

artists.

N68, 2022

Driftwood, hemp thread, paper thread and cardboard

36.6 x 48.4 in (93 x 123 cm)

62

N76, 2023

Pods, burlap, leather and wood

20.4 x 16.5 in (52 x 42 cm)

63

SABINE FELICIANO

Saint-Etienne, France

Embroidering is not vital; that’s

precisely why it’s so essential to

Sabine Feliciano. The story of her life

is a gradual process punctuated by

fragments of time—a quest for ultimate

fulfillment, a surrender that proves

immensely challenging, continuously

questioning her body, sensations, and

perceptions. This fragmented nature

of time exposes her to transformative

occurrences that unfold. Countless

sensitive strategies exist to awaken

her perception of these in-between

moments, creating an uncomfortable

realm that celebrates life devoid of

any morbid representation. Time

surpasses the boundaries of her

body and soul, ushering her from

immense joy to emptiness, from

hopeful anticipation to painful loss.

Consequently, it compels her to savor

sensations that will inevitably fade

away, fueling her ultimate desires.

Sabine finds fascination in her ability

to illuminate the intricacy of existence

by punctuating this nonlinear yet

continuous process. She relishes in

investigating, fragmenting, cutting,

manipulating the envelope, and

juxtaposing the external with the

internal. Her affection lies with the

imperfections, the vitality of life, and

the delicate nature of its rebirth. She

collects and accumulates recycled

materials—worn-out fabrics that have

been sewn, stitched, embroidered,

or blended together. Textiles form

a profound connection between

memories and emotions, as they touch,

envelop, and clothe her. They carry

stories, and the narratives woven within

recycled, torn, dyed, and damaged

textiles become the threads that

construct an imaginary world. However,

who is to say that this world is not real

if it has the power to move her?

UNDER LOCKDOWN 14 DAYS, 2020-21

Textile oranges, fabric dyed, embroidered fancy

threads, nylon, pearls, black and red lacquered box

5.5 x 51.1 x 5.5 in (14 x 130 x 14 cm)

64

SKIN SERIES Nº 7, 2015

Raven, black tafta, hookwork, fancy thread and

beads

20.4 x 16.5 in (52 x 42 cm)

65

SÉVERINE GALLARDO

Angoulême, France

LA FORET DES ZOUILLETS HALBO, 2022

Photo performance

35.8 x 23.6 x 16.5 in (91 x 60 x 42 cm)

66

Model: Halbo Kool

TRIPUDIUM MODEL, 2022

Photo performance

36.6 x 33.4 x 14.9 in (93 x 85 x 38 cm)

Her artistic approach is essentially

nourished by folklore and its

costumes, with a particular interest in

headdresses and masks. Her creative

process utilizes traditional textile skills

and techniques, including felting,

embroidery, knitting, and crocheting.

Over time, her creations have evolved

towards more precise architectural

forms, blending ornamentation and

embroidered patterns sourced primarily

from old and documentary images.

These ornaments, as well as the

masks, are predominantly showcased

during parades, processions, or

performances.

67

GAËLLE BOSSER

Paris and Loiret, France

Her medium is sensation, and she

proceeds through assemblage. The

diversity of materials, such as textiles,

wood, glass, and unconventional

objects used in unexpected ways,

characterizes her practice. She

allows places and the body to speak.

Thoughts can be absorbed within

branches, pebbles, silk, threads, and

fragments of art history that emerge

on the surface. She awaits the

remembrance of intimate mythologies

coming back from the forest, the

garden, the beach, and from bones

and muscles. In some of her pieces,

she intends to show how she feels like

melting with the elements, where her

body becomes part of nature.

GROUNDED, 2022

Sewn organza, crocheted flax

68


0’35’’

UNSINKABLE, 2022

Cotton muslin, ribbons, crocheted silk, small air

cushions


0’50’’

69

FRANZISKA WARZOG

Hannover, Germany

LARVAE THREE PART, 2023

Textile sculpture

19.6 x 5.5 x 5.5 in (50 x 14 x 14 cm) ea.

70

Franziska Warzog is primarily

interested in organic and erotic forms,

which she skillfully combines in a fairytale-like

manner, often incorporating

strong and predominantly geometric

elements. Her textile sculptures

evoke a sense of natural forms, while

simultaneously possessing a liberated

and open-ended meaning.

LEAVES AND BLOSSOMS, 2023

Textile sculpture

18.8 x 19.6 x 19.6 in (48 x 50 x 50 cm)

71

MARTINA GRUND

Kiel, Germany

Shimmering sequins on silk,

meticulously aligned in thousands,

create a captivating play of light,

infusing the room with a unique

atmosphere. The expansive artworks

spanning the last 15 years of

Martina Grund’s career fill the space,

thematically transporting viewers into

her realm—the realm of stillness and

absence. Internal organs, such as

the stomach, heart, and brain, are

magnified multiple times and become

individual objects of observation. Each

organ is meticulously crafted with

50,000 to 70,000 sequins of various

colors, delicately sewn onto a light

background using intricate embroidery

techniques. Martina Grund stands

alone as the only artist in the world who

creates artworks of such scale using

the ancient art of sequin embroidery.

Having grown up in Catholic Lower

Bavaria, Martina Grund’s first

encounters with art were within the

confines of churches and monasteries.

Even as a child, she found herself

drawn to the baroque oil paintings,

stained glass windows, enigmatic

saints, gruesome martyrs, mysterious

relics, and particularly the embroidered

shrouds adorned with skeletons. Her

subsequent studies encompassed both

architecture and medicine. In grappling

with the transient nature of existence,

she confronts the insignificance of

materials. Her artistic pursuit revolves

around a paradoxical perspective: how

the repulsive can become beautiful,

the traditional can become disruptive,

and the beautiful can become harsh

and repugnant. In a technocratic,

globalized world, she endeavors to

counterbalance these tendencies by

creating enraptured artworks that exist

outside the confines of time.

SWARM PART III, 2020

Sequins on silk, each one single stitched by hand

31.4 x 38.5 in (80 x 98 cm)

72

JELLYFISH, 2014

Sequins on silk, each one single stitched by hand

51.9 x 29.5 in (132 x 75 cm)

73

LINDA MÄNNEL

Nuremberg, Germany

NEBELWALD, 2022

Ink and yarn on canvas

27.5 x 19.6 in (70 x 50 cm)

Linda Männel’s artworks are created

using black ink on canvas. These

predominantly figurative paintings often

depict landscapes such as seascapes,

misty forests, or expansive plains. To

introduce color into the scenery and

establish a secondary, more abstract

dimension, she employs colored thread

to embroider over the painted surface.

The artist consistently stitches in

horizontal lines, maintaining a distance

of approximately 5 mm between

each stitch. This technique imparts a

rasterized and slightly blurred effect

to the image while also infusing the

painting with subtle hues from the

thread. When viewed directly in front

of the artwork, the layers appear to

dissolve, merging the painting and

embroidery seamlessly. It becomes

challenging to distinguish the colored

thread as separate from the original

painting, as it appears to be an integral

part of the composition. The interplay

between the black and white painting

and the embroidered light creates an

illusion that the viewer can almost

sense the atmosphere within the

depicted scenes, providing a more

intimate experience compared to a

purely two-dimensional image.

74

YUCATAN II, 2023

Ink and yarn on canvas

82.6 x 51.1 in (210 x 130 cm)

75

SAPNA KARN

New Delhi, India

In her artistic creations, Sapna Karn

embarks on a transformative journey

that celebrates the beauty of feminine

energy and the courage to embrace

oneself as is. She meticulously

collects waste fabrics from local ladies’

tailors, rescuing materials that would

otherwise be discarded and forgotten.

Recognizing the potential in these

fabrics, she weaves them together to

create a canvas that tells a powerful

story of confidence, self-love, and body

positivity. The fabrics she selects are

rich in texture, adorned with intricate

patterns of flowers and leaves that

breathe life into the canvas. These

textures imbue her artwork with depth

and meaning, creating a captivating

visual experience. Sapna’s paintings

revolve around the female body,

exploring the dynamic relationship

between fabric and form. Her artistic

approach is rooted in the celebration

of the female form, serving as a

reminder that every woman is beautiful

and unique in her own way. Sapna’s

artwork becomes a tribute to body

positivity, encouraging women to love

and accept their bodies, regardless of

shape or size. It carries a resounding

call to action, urging individuals to

embrace themselves and recognize

their own inherent beauty and worth.

Sapna Karn’s intention is to establish

a profound connection between fabrics

and the female body. She aims to

demonstrate how fabrics can enhance

and accentuate the beauty of the

female form, becoming an extension

of one’s identity and a powerful means

of self-expression. Her ultimate goal is

to inspire women to fully embrace their

bodies, viewing themselves as works of

art—unique canvases that are beautiful

and deserving of celebration.

76

IN THE BUF, 2022

Fabric

32 x 55 in (x 81.2 x 139.7 cm)

UNVEILED, 2022

Fabric

55 x 32 in (139.7 x 81.2 cm)

77

GEORGIA FAMBRIS

Athens, Greece

I ORDERED MYSELF A HEARTBREAK FROM

AMAZON TO FEEL ALIVE, 2023

Yarn on burlap fabric

35.4 x 33.4 in (90 x 85 cm)

78

Georgia Fambris finds her emotional

outlet in painting, hand-tufted works,

and other mediums, and this is

evident in her expressive gestures as

she passionately engages with the

canvas. Her art encompasses both

action-performance and storytelling.

It is abstract yet descriptive, narrating

common stories that stem from an

overwhelming existential boredom.

Beneath the surface of apparent

indolence, there is a boiling intensity.

The artist is fully present within her

works, becoming deeply involved in

the entangled clusters of figurative

bodies. Like Laocoön, she struggles

to break free, only to find herself more

entangled and strangled. As observers,

we find ourselves contemplating

her emotional state during the

creative process. Is she in a state of

excitement? Hypomania, perhaps?

Fambris flails like Virginia Woolf,

battling the inevitable inner monsters

that emerge. With tenderness and

vulnerability, she loosens the grip of

these monsters’ tentacles when she

stops resisting them. (Excerpt from the

presentation text “Halaoua Domestic,

mini dramas” by Poka Yio, founder

and artistic director of the Biennale

of Athens, for Georgia Fambris’ solo

exhibition “All I Miss. Since Forever.”)

LOOK, DON’T LOOK, REDUCE THE PILLING

THREAD AND COME CLOSER, THE SCISSORS

ARE MY FRIENDS, 2023

Hand tufted yarn on burlap fabric

50.3 x 29.5 in (128 x 75 cm)

79

LARA ZAPPA

Como, Italy

80

EYE, 2023

Nail, fiber and wood

11.8 x 11.8 in (30 x 30 cm)

The artworks are created using

wooden panels into which nails are

inserted. Threads are then knotted to

the nails, forming intricate weaves that

depict various images. This technique,

known as string art, originated from

textile manufacturing. The subjects of

the artworks are inspired by human

nature, often portraying faces and

particularly eyes. The dominant colors

used range from white to black,

although other colors are occasionally

incorporated. The intention behind

these artworks is to convey emotions

through the expressive gazes created

with thread.

WOMAN, 2019

Nail, fiber and wood

47.2 x 43.3 in (120 x 110 cm)

81

ERI IMAMURA

Kawasaki, Japan

BREATHE, 2022

Seed beads, cut beads, 24k gold beads, antique,

Japanese kimono, textiles, hanger, head, wood,

stuffing

36.2 x 27.5 x 5.5 in (92 x 70 x 14 cm)

82

The artistic practice of Eri Imamura

has been shaped by the blurring

lines between fiction and reality. In

this regard, the filiation with manga

art is clearly acknowledged in her

graphic and colorful aesthetics. The

recent experience of the pandemic has

further stimulated her inspiration.

The outbreak of COVID-19 has

suddenly encapsulated all of us in

virtual bubbles on a global scale,

showing us that Science Fiction stories

can become real, as she states. In

parallel, digital technologies have

engendered the metaverse offering

alternative bubbles to escape from

our condition. Reality seems now

to surpass fiction. Taking over the

concept of “2.5D” that has emerged

from video games and manga

culture, Eri has been inspired by the

in-betweenness of today’s “reality”,

halfway between two-dimensional

(2D) and three-dimensional (3D)

worlds. Our daily lives have somehow

become “phygital”, with the

entwinement of physical and digital

experiences. Thus, our relation to

the real world has shifted from the

notion of the universe to a fragmentary

and discontinuous “pluriverse”, as

defined by French philosopher Jean-

Clet Martinin his exploration of the

multiplicity of new space-times in

the contemporary era. Reflecting on

our modern spiritual and terrestrial

condition, Eri composes a cosmology

for our time, acknowledging the end of

“the” world in favor of the multiplication

of “the” worlds.

LIVING IN A BUBBLE SEED, 2022

Seed, beads, cut beads, 24k gold beads, antique

Japanese kimono textiles, hanger, head, wood,

stuffing

40.5 x 26.7 x 5.9 in (103 x 68 x 15 cm)

83

NATSUKO HATTORI

Fukuoka, Japan

BETWEEN YOU AND ME, 2013

Fabric, sewn cotton

74.8 in (190 cm) diameter

84

BLOSSOM, 2014


1’34’’

Olga N. Bogdanova (Performance artist)

Fabric is her preferred medium

because it allows people to easily

connect with the material, evoking

feelings of warmth, natural softness,

and human intimacy. The act of

wrapping holds significant importance

in her sculptures. Her artistic process

begins with selecting and cutting fabric

to create cotton-filled balls. These

vibrant and sometimes flamboyant

colored balls are intricately bound

together, resulting in each masterpiece

being unique and extraordinary.

Each ball represents the inner state

of humanity. The act of wrapping

around each round ball serves as a

transformative gesture, converting

pain, sadness, and despair into positive

energy such as love or a prayer for

comfort. Through her work, she aspires

to convey a sense of happiness and

celebrate the indomitable human spirit.

SUMMER MEMORY, 2014

Fabric, sewn cotton

35.8 x 35.8 in (91 x 91 cm)

85

CARRY DOORN

Amersfoort, Netherlands

86

SPECTRUM FROM BLACK, 2013

Fiber art

15.7 x 15.7 x 7.8 in (40 x 40 x 20 cm)

Her art naturally emanates from

her creative process, as she

delves into various materials and

mediums, constantly exploring

and experimenting. She embraces

a recycling ethos, maintaining a

harmonious connection with the

materials she employs. Through the

use of colored textiles, she masterfully

achieves a layered and translucent

aesthetic. The interplay of unique

shadow effects and vibrant colors

that emerge when illuminated by

light demands both attention and

contemplation. Not only is her work

intriguing and captivating, but it also

possesses a poetic quality.

BLOSSOM, 2014


1’34’’

THOUGHTS, 2023

Fiber Art

55.1 x 27.5 x 7.8 in (140 x 70 x 20 cm)


1’02’’

87

CAROLINA VAZ

Lisbon, Portugal

Carolina Vaz delves into her creative

side and defines her aesthetic

sensibility through the utilization

of various embroidery techniques,

textures, and colors of the skeins

she handles. She possesses a deep

appreciation for color and endeavors

to elevate embroidery into the realm of

contemporary art.

MATER(IA) COMPOSITION #2, 2023

Punch needle, embroidery

31.4 x 47.2 x 1.9 in (80 x 120 x 5 cm)

88

MATER(IA) COMPOSITION #1, 2023

Punch needle, embroidery

59 x 39.3 x 1.9 in (150 x 100 x 5 cm)

89

SÓNIA ANICETO

Brussels, Belgium

90

Sónia Aniceto’s work lies at the

crossroads between painting and

textile art. In a broader approach

to painting, she combines applied

colors, embroidery, mechanical

free-stitch, and drawing on ‘drop

paper,’ a flexible, fibrous material

similar to fabric. The result is a threedimensional

weave. The delicacy

of the drawing, the resilience of the

paper, its transparencies, thicknesses,

suppleness, and tensions create a

world of intimacy, full of strength as well

as fragility. Her work is multi-faceted,

drawing on narrative pieces, overlaps,

and interlocking scenes. Her approach

is certainly intriguing: a kaleidoscope

of stories and sensations that combine

to form a whole, an identity. Sónia

oscillates between innocence and

adulthood, between freedom and

restraint in these enigmatic spaces of

hers, and in an ambivalent “surreality”

that is not constrained by logic. She

likes to disrupt spatial and temporal

reference points. The reference to the

body is omnipresent, a fragmentary,

almost lacking body of which she offers

a partial vision, so fragmented that

it becomes imaginary, like a vague

memory. A kind of inevitable evolution

towards abstraction begins, like an

endless landscape, more atmospheric

than figurative. In her recent works,

Sónia explores the notion of territory.

Shared, conquered, marked, known,

experienced, crossed, recognized,

appropriated, moved, familiar... so

many ways of inhabiting the world that

transforms the human being. These

“landscapes” are like a journey through

fantasized places and geographies

tinged with affect. They invite us

to multiply worlds in order to make

ours more welcoming. Alongside her

works on canvas and paper, Sónia

is also developing an installation

practice. “TEIA” is a polymorphous,

collaborative, in situ textile work in

progress. It is a project that is being

renewed, transformed, transited, and

evolving since 2017. Like a shifting,

suspended, floating territory, this

installation proposes to reweave links

in order to better question the ideas of

displacement and uprooting and, above

all, our connection with the world.

TEIA, 2022

Crochet

157.4 x 157.4 x 157.4 in (400 x 400 x400 cm) aprox.

UN MONDE EXTENSIBLE, 2022

Free mechanical dot on drawing and oil painting

on drop paper

43.3 x 35.4 in (110 x 90 cm)

91

OLGA TEKSHEVA

Rome, Italy

Olga Teksheva specializes in textile

and fiber installations as well as textile

mural sculptures. The Russian-born

artist, who is based in Italy, primarily

works in series, drawing inspiration

from natural objects and their textures

such as pebbles, rocks, shells, plants,

and the underwater world. Each

artwork begins with graphic research

of a natural object or intriguing humanproduced

texture, which is documented

in the artist’s sketchbook. The graphic

marks discovered during this research

process are then translated into handembroidered

marks on textile collages.

These collages are predominantly

crafted on a felt base reinforced with

wooden structures. One significant

source of inspiration for Teksheva is

her childhood in a family with mixed

ethnic and religious origins. She

particularly draws on her memories

of her grandmother’s sister, who was

a shaman belonging to the ancient

traditions of the steppes nations. As

part of the “Natural Inspirations” show

at Museu Textil, Teksheva presents

her latest work, “Black,” which is a

sculpture of the “Spheres” series. This

series includes a few “magic shields”,

each dedicated to a specific color and

its nuances. These shields incorporate

branches or roots of plants gathered by

the artist during her travels throughout

Italy.

92

“BLACK”, “SPHERES” SERIES, 2023

Hand embroidery on textile collage with found

objects

25.5 x 25.5 x 1.9 in (65 x 65 x 5 cm)

93

ANNA CARMONA

Girona, Catalonia

PLANET, 2023

Cotton, linen and mixed media

48 in (122 cm) diameter

Lanna C is an artist who employs

various techniques, processes, and

materials in her textile and fiber

artwork. She sets aside technical

work based on repetition and

instead embraces unruly materials,

experimenting with complete freedom.

She is passionate about transforming

matter and achieving diverse volumes

and textures. She combines bags

treated with pigments, stucco, or gold

leaf, which are traditional materials

used globally since ancient times,

with more modern and sustainable

alternatives. Her personal interest

and strong commitment to adapting

artistic practices to a more sustainable

lifestyle can be observed in her

recent works, which incorporate

reused materials such as leather and

quality fabrics sourced from surplus

and waste in the design and fashion

sectors. Additionally, she aims to

highlight the excellent properties and

artistic potential of wool. Her series

draw inspiration from landscapes,

cities, architecture, and the life stories

that accompany them. They evoke

memories of youth, vacations, shared

landscapes, the sea, terraces, stone

walls, and vegetation. She also

explores themes related to the city,

music, nightlife, people, and cultural

activities. Symbolism, folds, contours,

cracks, seams, and mixtures are

prevalent in her work, representing

those territories and lived experiences

while encouraging viewers to create

their own internal landscapes. In her

subsequent series, titled “Nature,”

she intends to celebrate and elevate

the elements of nature to the status

of artwork, recognizing their beauty

and appreciating their contributions to

our lives, emphasizing the importance

of their existence and preservation.

Simultaneously, her creations aim

to evoke the viewer’s emotions

through various senses. She employs

monochrome designs, diverse tactile

textures, and geometric, architectural,

or organic shapes, including movable

elements that can be adjusted at

will. Her artistic creations transcend

conceptual and technical aspects,

offering sensory experiences that

engage the audience.

94

MAGMATIC STONES, 2023

Cotton, linen and mixed media

31.4 x 31.4 in (80 x 80 cm)

95

MÉLANIE VINCENSINI

Geneva, Switzerland

Her creative process is very intuitive

and playful drawn from her multicultural

upbringing. Usually it all begins

with inner thoughts and unconscious

emotions and sometimes it seems her

hands are no longer commanded by

her but by magic.

Her textile sculptures and art

installations are mostly made with

recycled materials and natural fibers,

infused with a touch of poetry and

humor.

96

MASQUE 3, 2020

Jute fiber, wood, feathers, paper, silk

25,5 x 11,8 x 21,6 in (65 x 30 x 55 cm)

Artwork showcased in the form of photo

performance

MASQUE 1, 2020

Jute, fiber, cotton, silk

16.5 x 10.2 x 12.5 in (42 x 26 x 32 cm)

Artwork showcased in the form of photo

performance

97

ELLEN DYNEBRINK

Gothenburg, Sweden

Ellen Dynebrink is a textile artist who

works with the technique of patchwork.

Her focus on patchwork stems from

her love for textile materials and her

interest in the relationship between

the textile field and women’s history.

Through her practice, she seeks to

explore values and preconceived

notions embedded in femininecoded

expressions and techniques.

Her work continually investigates

the gap between image production

and representation, as well as the

relationship between the viewer

and the image, raising questions

about subjectivity. Using digital

tools, she edits and converts photos

and sketches, which are later sewn

into patchwork. The combination of

digital distortions with the inherent

limitations and specific conditions

of the patchwork technique, along

with the characteristics of the textile

material, contributes to the aesthetic

outcome. This process offers a further

filtration of abstraction and allows

for alternative interpretations of the

patchwork image. Even the seemingly

monotonous process of cutting squares

apart and sewing them together forms

a central part of her artistic language

and expression. It serves as a kind of

meditation on the material and a way

to “participate in” or “lose oneself in”

the image.

PROMISES, 2023

Textile patchwork

47.2 x 41.7 in (120 x 106 cm)

98

DREAMS 1, 2023

Textile patchwork

70.8 x 62.5 in (180 x 159 cm)

99

KERSTIN LINDSTRÖM

Härnösand, Sweden

100

FLOW, 2021

Dyed and pleated recycled army felt

118.1 x 59 in (300 x 150 cm)

The starting points of Kerstin

Lindström’s work are time, location,

and state. The work takes the

form of objects, installations, and

performances, made individually or in

collaboration with others. The interest

revolves around places that have

a strong connection to the ground.

Some are dense, concentrated, and

overgrown, while others carry the

imprint of past activities. Some places

open themselves and invite action. The

choice of color and material is crucial.

She folds, creases, builds, packs, and

pleats wool, felt, and iron. Lindström

also crochets in metal and other

coarser materials and experiments with

different types of color. She combines

the works with video, photo, and audio.

MAY THE FORCE BE WITH US, 2023

Dyed pleated and painted recycled army blancets

98.4 x 82.6 in (250 x 210 cm)

101

KRISTINE STATTIN

Castres, France

CHROMA, 2023

Freemotion machine stitch

15.7 x 15.7 in (40 x 40 cm)

102

When Kristine sits down in front of

her sewing machine, her aim is to let

go of everything she knows, to be in

the moment without being attached to

outcomes or expectations, and to bring

the threads to life. She is interested

in the intuitive process, allowing the

threads to guide her. There is a sense

of freedom, excitement, and curiosity

that comes from letting go. Each new

artwork is a journey, an enigma that

invites her to solve it through the

use of color, which lies at the center

of everything she does, as well as

through line, texture, and shape.

While her work is purely abstract,

occasionally recognizable shapes

unintentionally emerge. The speed

of the sewing machine enables the

stitches to dance across the fabric,

leaving traces and building layers,

sometimes until the needle can no

longer pierce the fabric. There is

no going back to correct mistakes,

only moving forward and embracing

them as part of the process. This is

in contrast to the slow-paced, almost

meditative, and introspective act of

hand stitching. Kristine finds most of

her inspiration in nature.

LONG TIME COMING, 2023

Hand and freemotion machine stitch

15.7 x 15.7 in (40 x40 cm)

103

MURIEL DÉCAILLET

Geneva, Switzerland

LES ÉTERNEL·LE·S - L’EVE AFRICAINE

II, 2018

Embroidered canvas, burnt cotton canvas, wool,

textile

39.3 x 23.6 in (100 x 60 cm)

Muriel Décaillet’s work is committed,

deeply human, subtle, and powerful.

She utilizes thread, textiles, natural

elements, and salvaged materials as

her preferred mediums. Her artistic

repertoire ranges from installations

to embroidered canvases and

peculiar biomorphic textile sculptures.

Throughout her creations, the themes

of femininity, the human body, life, and

death intertwine.

104

PRÊTRESSE, 2020

Sculpture, textile, deer wood

80.7 x 39.3 x 39.3 in (205 x 100 x 100 cm)

105

GÖZDE JU

Frankfurt and Main, Germany

A PORTRAIT OF HAPPY FAMILY, 2023

Mixed Media, Free Hand Machine Embroidery,

Lace, 2023

114.1 x 94.4 in (290 x 240 cm)

Variable dimension for installed space

A PORTRAIT OF HAPPY FAMILY, 2003

Free hand machine embroidery and lace

16.9 x 12.5 in (43 x 32 cm)

In the most general form, she uses

different materials such as found

photographs, textile as a tool in her

works aiming to touch upon the issues

of identity, culture, memory, gender and

belonging. The artist is researching

the relationship of concepts such as

memory and culture with space.Gözde

Ju aims to point out the reality and

uncertainty of memories, past and

consciousness by benefitting from the

found photographs and dowery. She

also aspires to make roles of women

and concepts of identity, gender and

memory questionable. The objects

that she uses, beyond being only

remembrance, express the sociocultural

content. These make cultural

memory which is anchored in the time

and space visible.

106

MELTING MEMORIES, 2023

Free hand machine embroidery

47.2 x 31.4 in (120 x 80 cm)

107

LOUISE HEIGHES

Maragte, UK

108

FERN, 2020

Leather

25.5 x 25.5 in (65 x 65 cm)

Louise’s poetic and sensitive work is

inspired by the flow and movement

that she observes in the natural world.

Whether it is a field of wildflowers

or the blossoms on a tree, she has

always cherished the way the shape

of a single petal or flower can be

replicated, generating a multitude of

ever-changing patterns. She finds

fascination in the manner in which two

surfaces can merge into one when

they are interlaced, cut, or woven

together. The outcome frequently yields

something entirely novel, enriching a

two-dimensional surface.

BLOSSOM, 2022

Leather

49.2 x 31.4 in (125 x 80 cm)

109

OLGA RADIONOVA

Kyiv, Ukraine

ying, 2023

Sculpture textile

19.6 x 14.5 x 6.6 in (50 x 37 x 17 cm)

110

Her soft sculptures are an example of

creativity beyond tradition. It is a playful

balance between meaningful craft

and usable art. She mixes fabrics with

woods and metal to create something

emotional, expressing her vision of

beauty.

YANG, 2023

Sculpture textile

16.1 x 15.7 x 5.5 in (41 x 40 x 14 cm)

111

AMELIA NIN

Berlin, Germany

BIG CRUNCH, 2022

Braiding and embroidery

22.4 x 22.4 in (57 x 57 cm)

112

INCEPTION, 2022

Braiding and embroidery

57 x 57 in (145 x 145 cm)

Amelia Nin’s work is a symbolic and

intuitive expression of the longing

for a closer relationship with nature,

acting as a bridge between the real

and intangible world. She creates

textile abstractions with a poetic

emphasis on details, tracing reflections

on the fabric with needle and thread,

embroidering the ungraspable. By

weaving and interweaving fabrics,

which she recycles and transforms

through dyeing, painting, bleaching,

or burning, she develops textures that

explore the relationship between the

micro and macro cosmos. Working with

textiles intrigues her because they hold

memories and intimacy, constituting

a part of her identity. She rescues the

traces that time leaves on textiles, not

concealing them, but rather amplifying

and transcending them. These traces

serve as evidence of the relentless

passage of time, our impermanence,

and transience. The encounter with

lichens revealed their magical essence

to her. She finds fascination not only in

their aesthetic richness but also from a

philosophical standpoint. Within them,

she perceives captivating mysteries,

such as the origin of things, the

evolution of life, and our vulnerable

existence in the universe.

113

ARIADNA PASTORINI


As a multidisciplinary artist, she

works with painting, sculpture, visual

arts, and particularly textiles, which

she incorporates into installation

and performance art. Despite her

academic background in printmaking

and silkscreen printing, textiles have

become the ideal medium for her

artistic expression, allowing her to

explore form, three-dimensionality, and

space. She creates soft sculptures

that interact with viewers, fostering a

synergy between the artwork and the

observer, resulting in a cohesive and

immersive experience. The textiles she

employs serve as a versatile material,

enabling her to construct a complete

and inhabitable world of artistic

content. NATURALEZAS, 2023

114


4’12’’

115

BARBARA BRYN KLARE

OH and San Francisco Bay Area, USA

DECONSTRUCTED, 2018

Tapestry, korean micro velvet

4.5 x 5.5 ft (137.1h x 167.6 cm)

Cloth as a metaphor: thread transforms

into a line, and fabric becomes paint.

Rescued textiles, objects, drawings,

text, and various other materials

are skillfully interwoven in an artistic

practice that explores themes of

fragility, waste, repair, sustainability,

and the dynamics of power and

powerlessness. Through their work,

the artist gives voice and artistic solace

to the overlooked members of our

society: discarded sticks, old clothes,

fabric remnants, and unheard poets.

They champion and advocate for the

humble and frayed, liberating the

discarded remnants of our throw-away

culture. The enduring strength found

in worn fabrics and weathered paper

becomes the foundation for their largescale

installations, drawings, collages,

objects, and socially engaged projects.

116

MODERN BORO I, 2023

Indigo dyed textiles

18 x 16 in (45.7 x 40.6 cm)

117

CATHY JACOBS

Ann Arbor, Michigan, USA

She finds a visual connection with the

world by observing the subtle shifts

in light and color in the everyday

environment. These nuanced changes

become even more captivating when

she views them through layered

objects or different atmospheric

conditions. Whether it’s experiencing

the world through fog, gazing through

long blades of grass, or glimpsing the

sky through the interlaced branches of

a forest, she discovers beauty in the

act of looking through multiple layers.

As a trained painter, her focus lies in

layering woven screens to generate

vibrant fields of color. She is fascinated

by the ever-shifting movement of the

wavy patterns, known as the moiré

effect, as well as the visual blending

of colors that occur when viewing

overlapping screens.

WAVE RHYTHM, 2022

Painted screens and metal

68 x 31 x 9 in (172.7 x 78.7 x 22.8 cm)

118

NIGHT POOL, 2022

Painted screen and metal

54 x 48 x 7 in (137.1 x 121.9 x 17.7 cm)

119

CHARLOTTE SCHMID-MAYBACH

Los Angeles, California

She engages with landscapes,

both natural and urban, employing

an interdisciplinary approach that

combines photography, textiles, and

assemblage. In her process, she backs

her photographs with interfacing and

utilizes machine embroidery to sew

onto them, seamlessly integrating

the threads with the photographs

and giving rise to a novel creation:

photographic tapestries. Through

sewing, she immerses herself in the

photograph, and the introduction

of thread transforms the images

into something more dimensional

and textural. Thread acts as a

transformative element in her work,

ultimately causing the finished pieces

to resemble fabric. The threads blur the

boundary between what is real within

the photograph and what exists beyond

the frame, blurring the line between

reality and imagination.

STORIES IN THE WINTER WOODS, 2022

Sewn archival pigments prints on kozo paper,

thread, lace

70 x 55 in (177.8 x 139.7 cm)

120

L’HEURE BLEUE, 2022

Sewn archival pigment prints on kozo paper, thread

55 x 55 in (139.7 x 139.7 cm)

121

COURTNEY COX

Chattanooga, Tennessee, USA

HOPE, 2022

Hand embroidery

8 x 10 in (20.32 x 25.4 cm)

122

Working as a fiber artist specializing

in hand embroidery, Cox’s art offers

a contemporary perspective through

the lens of ancient techniques. With

nothing more than a needle and thread,

she weaves social commentary into

her artwork, unraveling the stories of

society one thread at a time. Portraiture

often serves as her medium to explore

and communicate various issues and

experiences, stitching her pieces as

a response to the emotions evoked

by her observations and interactions

with the world. As a self-taught artist in

the realm of hand embroidery, Cox’s

work does not consciously adhere

to any particular rules or traditions

evident in the legacy of this craft. She

fearlessly combines hand embroidery

with watercolor and found objects,

and experiments with unconventional

mounting techniques such as backward

canvas or flyswatters, as well as the

deliberate removal of materials. In each

artwork, her meticulous use of needle

and thread elicits a sense of discovery

and invites the viewer to embark on a

journey of exploration.

SERIES FINALE, 2022

Hand embroidery

14 x 14 in (35.5 x 35.5 cm)

123

JASON KRIEGLER

Mexico City, Mexico

UNTITLED, 2021

Hand embroidered, linen, gauze sumi Ink

7.5 x 5 ft (228.6 x 152.4 cm)

UNTITLED, 2021

Hand embroidered, linen, cardboard, cut paper,

wood, wood pieces, acrylic paint & sumi ink

7.5 x 5 ft (228.6 x 152.4 cm)

124

Hand Embroidered Contemporary

Works on Paper and Linen.

He has a profound interest in the

narratives, applications, materials, and

techniques that have been conveyed

through textiles and the artisans who

craft them over the years. He finds

fascination in the historical significance

of handmade objects originating from

various regions, tribes, or villages,

which give rise to unique, intricate,

and multi-purpose pieces. Both men

and women contribute to the creation

of these distinctive and original

works through the medium of textiles,

whether for ceremonial purposes,

everyday use, wearables, trade, or

decoration. Shapes, patterns, colors,

and ideas unfold through the process

of textile-making. His work represents a

contemporary interpretation and draws

inspiration from textiles of the past. It

incorporates dark and light organic and

biological forms, as well as abstract

elements. However, it can also be

appreciated purely as combinations of

shapes, lines, and textures. Despite

their simplicity, these artworks possess

a captivating quality that rewards

careful observation. Through hand

embroidery on paper and linen, they

reveal the complexity and fragility of

contemporary creations, exuding a

sense of depth that only intensifies

upon further examination.

UNTITLED, 2023

Hand embroidered, linen, canvas, acrylic paint,

cardboard, painted and punched metal

7 ft x 6.5 ft (213.3 x 198.1 cm)

125

JULIA COUZENS

Clarksburg, California

Stitching

Suturing

Layering

Unsteady geometries

Embedded fixations

Renegade symmetries

The sheen

The glow

The haze

The satisfactory grid

Capillaries and thready thicket-chunks

Hand tools for reveries

Seeking enchantment in a contingent

world

EMERGENT ME, 2023

Thread and tulle

19 x 16 in (48.2 x 40.6 cm)

126

GRIDLOCK, 2023

Tulle, thread, mixed fiber

33 x 29 in (83.8 x 73.6 cm)

127

KATHERINE HUNT

New Mexico, USA

128

RECTANGLE PIECE Nº 1, 2023

Cotton fiber, canvas, acrylic, iron oxide pigment

36 x 60 in (91.4 x 152.4 cm)

Inspired by the reduction of form

in Minimalism and the material

explorations of Post-Minimalism,

Katherine Hunt creates intricate

geometric works using fiber as her

medium of choice. Through the

incorporation of fiber, she introduces

a tactile element to the language

of painting, elevating a line from its

traditional two-dimensional plane

and bringing forth its expressive

and conceptual potential. Working

with “soft” materials introduces an

element of uncontrollable spontaneity

and impermanence to geometric

compositions. By preserving the course

of the line using a continuous thread,

Hunt captures and documents her

thought processes, perspectives, and

physical movements onto an object

external to herself. In her latest body

of work, Hunt draws influence from

the long northern winters of her youth,

where landscapes were enveloped in

the fog of snow. During this time, her

heightened sensory awareness allowed

her to perceive even the most nuanced

details in her surroundings. By limiting

her palette to various shades of white,

she creates artwork in which subtle

variations in tone become perceptible,

requiring patient observation and

allowing the viewer’s eyes to adjust.

While initially appearing as “white

paintings” upon casual observation, a

closer and more patient examination

reveals the presence of numerous

tonal and textural complexities. The

subtleties in Hunt’s work are magnified

through the interplay between the

artwork and its relationship with the

surrounding space, including the

wall, ceiling, floor, and light sources.

Amidst today’s overly saturated and

busy environments, slowing down

and engaging in careful examination

of Hunt’s work, much like the silent

natural world of northern winters,

rewards viewers with a sharpened

visual perspective and a centered

psychological state.

SQUARE PIECE Nº 2, 2022

Cotton fiber, canvas, acrylic, iron oxide pigment

36 x 36 in (91.4 x 91.4 cm)

129

KRISTINA PENHOET

Washington, DC, USA

(DIS)CONNECTIONS, 2019-23

Wool fiber

2.5 x 3 x 2 in ( 6.3 x 7.6 x 5 cm) ea.

Kristina is captivated by the range of

experiences and emotions that shape

the depth and breadth of the human

condition. As an artist, she seeks

perfection but finds true beauty in the

imperfections brought about by chance,

nature, and human interaction. Her

work explores themes of abandonment,

betrayal, disconnection, judgment,

misrepresentation, and loss, depicting

the accompanying feelings of fear,

sadness, revulsion, anger, forgiveness,

and understanding through sculptural

forms.

Throughout Kristina’s artwork, there

is often a focus on the human form,

particularly women’s bodies, and the

internal and external influences that

shape them. The biomorphic qualities

of her art establish a connection

with the viewer and evoke emotional

responses. The repetition of forms

found in many of her pieces serves as

a reminder of the universality of human

experiences. She aims to challenge

viewers to seek understanding and

find beauty in the moments that define

our humanity, fostering profound

empathy for one another. In her art,

Kristina employs fiber techniques

while incorporating other materials

such as manufactured textiles, thread,

glass, metal, and plastic. This choice

of medium reinforces her themes and

emphasizes the tactile and visceral

qualities of her work. Reflecting

the themes of connectedness and

experience central to her art, each

piece becomes an integral part of its

environment, inviting the viewer into

the shared experience.

The inspiration for this series stems

from the notion that we are all

interconnected, both literally and

figuratively. Through portraiture of the

navel, which represents our physical

connection to our mothers as well as

the process of becoming our individual

selves, Kristina explores the similarities

and differences in our connections.

While everyone possesses a

bellybutton, each one is unique,

shaped by spontaneous actions,

thoughtful decisions, gravity, and the

passage of time.

Regarding “When We Are They Are

Us”:

In this work, women of various ages

contributed to the creation of each

strand, using a variety of materials to

symbolize a woman’s fertility. These

strands were made by teenagers,

young women, middle-aged mothers,

and grandmothers who dedicated

their time, effort, and thoughts about

their bodies and choices. Crochet

was chosen as the fiber technique for

this piece due to its universal nature

and ability to connect women across

generations. Just as many people

know someone who has crocheted,

they also know someone who has

faced challenging choices related to

their reproductive capacity.

Regarding “(Dis)Connection”:

The navel, serving as both a

connection and disconnection,

embodies another duality. Positioned in

one of the most vulnerable areas of our

bodies, the bellybutton carries intimacy

without the overt sexual connotations

associated with genitalia. Whether

and how one chooses to reveal their

navel greatly depends on socio-cultural

norms, the company they keep, their

age, and their self-perception. While

exposing our “soft underbelly” can be

provocative, it can also evoke fear,

offense, ordinariness, or playfulness. In

this work, Kristina deliberately isolates

the navel to accentuate these dualities

and enable the appreciation of the

diverse forms as miniature landscapes.

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WHEN WE ARE THEY ARE US, 2023

Mixed fiber and textiles

96 x 84 x 72 in (243.8 x 213.3 x 182.8 cm)

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LINDA FRIEDMAN SCHMIDT

Franklin Lakes, New Jersey, USA

CHAMELEONS AND EYE, 2022

Discarded clothing and faux skin

16 x 16 in (40.6 x 40.6 cm)

Linda Friedman Schmidt is a textile

artist who deeply concerns herself with

both the inner and outer environments.

Her artistic practice revolves around

creating portraits using discarded

clothing and found objects, which

serve as an emotional mirror. Having

grown up surrounded by trauma, she

experienced vulnerability and saw

the world as a dark place filled with

underlying danger. The present-day

threats of climate change, forest fires,

earthquakes, and chemical spills

have reawakened past fears within

her. Survival, protection, and safety

are prominent themes in her artwork,

alongside a profound reverence and

respect for nature and all living beings.

Worn clothes, much like many of us,

bear the marks of vulnerability, tears,

stress, strain, and damage, reflecting

the emotions many have experienced

in recent years. Through a process

of deconstruction and reconstruction,

she rescues, recycles, and breathes

new life into unwanted clothing,

found objects, and herself. She

delves into the act of mending, both

as a physical and symbolic gesture

that addresses individual and social

traumas. At the core of her creative

process lies the arrangement and

rearrangement of pieces, culminating

in the creation of something better

and new. Metaphorically, she repairs

a fragmented, fractured, and broken

self, while also rebuilding a fractured

world. She fosters unity from diversity,

intertwining the energy of numerous

elements with her own, melding

countless fragments to form a new

whole that surpasses the sum of its

parts.

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COVERED UP, 2022

Discarded clothing, pantyhose, photo, yarn, thread

34 x 30 x 3 in (86.3 x 76.2 x 7.6 cm)

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MO KELMAN

Providence, Rhode Island, US

CLOUD AND THE SPACE BETWEEN, 2018

Shibori-dyed and shaped silk, wood, wire

44 x 81 x 15 in (111.7 x 205.7 x 38.1 cm)

Mo Kelman contrives forms that merge

physical aspects of nature, architecture

and industry. Her current series

focuses on water as it cycles through

its various states as vapor, clouds,

rain, rivers, and oceans. To celebrate

nature and its resiliency, she may

interrupt a river with an architectural

grid, a metaphor for our complex built

and engineered world. She comments,

“We develop systems in an attempt to

command and harness nature. We try

to control rivers – where they flow and

how much, what they carry, and what

they energize. But we can’t compete

with physics, gravity, weather and

climate change. When pushed to the

edge, the natural world evolves, adapts

and prevails.”

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RIVER IN THE SKY, 2021

Shibori-dyed and shaped silk, wood

86 x 48 x 17 in (218.4 x 121.9 x 43.1 cm)

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RUBEN MARROQUIN

Brooklyn, New York, USA

SONORAN MAJESTY, PUNTA CHUECA, 2022

Mixed media

8 x 20 ft (243.8 x 609.6 cm)

Textiles and technical possibilities

offered in weaving are the foundation of

Ruben Marroquin’s work. His art aims

to revisit, appropriate, and reinterpret

certain languages, traditions, and art

historical movements, formalizing this

pursuit through the act of weaving,

an ancient craft of tribal societies.

From this combination of interests,

the artist develops a contemporary

proposal with resonant echoes,

where the acts of weaving, spinning,

braiding and interweaving surpass the

category of the craft. Past, present

and future converge in his body of

work, generating new inquiries about

the formal possibilities of materials to

create sculptural pieces. Time layers

overlap, transversal, interwoven,

and polysemic, and through these

connections, an ancient practice is

valued and updated.

Marroquin’s work is rooted in research,

exploring the resizing, questioning, and

reinvention of the possibilities offered

by textile materials and processes, as

well as reflecting on the opportunities

for contemporary creation provided

by this tradition. In this way, the artist

establishes two closely interconnected

registers bound by an inevitable filial

connection: on one hand, the material

and its ductile possibilities, and on the

other hand, the creation of a body of

work that links fiber art with abstract,

constructivist, gestural, and organic

practices. In this operation, Marroquin

does not produce utilitarian objects

with symbolic resonances like tribal

societies, but rather two-dimensional

sculptural works in which the act of

weaving loses its craft connotation,

updating itself and establishing new

formulas or drifts that engage in dialog

with contemporaneity.

For the construction of this pieces,

Marroquín employs assemblage,

seeking to create volume to overcome

the flatness of the two-dimensional

format. He attaches, sews, knots, or

adds various structures such as split

bamboo poles, floats, lifebuoys, or any

lightweight object found. From there,

the artist employs the classical visual

expression alphabet: line, stroke,

material, texture, form, color, space,

movement and rhythm. The operation

consists of covering that volumetric

structure or skeleton by enveloping and

layering threads. He encases and lines

with fibers to create textile pieces of

a sculptural nature, where movement

and organic elements gain ground. The

results are three-dimensional, gestural,

expressive, and lively tapestries in

which the artist enlivens the support

by playing with the formal elements of

visual composition.

His artistic world gallops from the

purely abstract and constructivist to

the organic, expressive and vital.

His trajectory is characterized by

experimentation and the intersection of

currents and languages, drawing from

elements and practices of visual arts

as well as manual and craft arts. These

are vigorous, powerful, evocative

pieces with sensory, manual and tactile

resonances that increasingly demand

medium and large scale supports

capable of containing their force and

the impetus of an unstoppable drive.

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UNTITLED, 2022

Bamboo, natural yarns, found objects on linen and

aluminum frame

60 x 60 in (152.4 x 152.4 cm)

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STAR TRAUTH

Miami, USA

NIGHTMARES ARE DREAMS, 2023

Hand and Fire Sculpted Fiber

36 x 24 x 3 in (91.4 x 60.9 x 7.6 cm)

Star Trauth is a an experimental artist

whose work spreads across many

mediums however, she has a fondness

for the fiber medium that often creates

new processes to complete the vision

of her pieces. Her art has been in over

fifty exhibitions in under five years;

including Miami Art Week, Yoko Ono’s

Arising, and The Florence Biennale.

Star prefers to work immersed in

music to keep the purity of her vision,

Trauth is meticulous when it comes to

sensory engagement. She will often

limit sight, sound, even diet, while

engaging her pieces. Each piece is

inspired by a personal experience.

Her art practice draws on the ideas of

abstraction, minimalism, Dadaism, the

concept of ikigai, anti-consumerism,

and a dedication to legacy. Star’s

art has been described as tribal and

innovative, art you want to touch but

shouldn’t. Her process melds ancient

techniques with signature innovations.

She prefers to use vintage, found,

and new fibers in unison to form her

creations. The inspiration comes from

memory. Music purifies it. In music

she sees color and original techniques

unfurl. Star says, “I am creating my

imagination and inviting you on the

journey.” She explores how much her

material can take before it burns to

nothing. It starts as waste converted

to fiber. She gives it life again just to

see how far she can stretch it. Literally.

She hand molds and fire molds each

component. Each one it’s own work of

art. She assembles it into mounted or

freestanding low relief sculpture. She’s

taking waste from man and bending

it to her will to give back something

interesting and beautiful.

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COMPLICATED DRAGON, 2023

Hand and Fire Sculpted Fiber

36 x 24 x 2.5 in (91.4 x 24 x 6.3 cm)

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exhibition

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artists biography

The biographical information was composed by the artists themselves, and it has been preserved in its original wording to prevent any potential misconceptions or errors.

ADELINE CONTRERAS

Lyon, France

INSTAGRAM: @contreras_adeline

WEBSITE: adelinecontreras.com

Adeline Contreras, visual artist, lives and works in

France. Parallel to her studies in psychology, she

trained with artists from whom she learned drawing

and painting. She learns according to her needs,

gleaning, learning and striving to acquire the

techniques and skills she needs to express herself.

Thread techniques have always been part of her

daily life, and her grandmother, a seamstress,

passed on her skills to her. Training in engraving and

ceramics will complete her apprenticeship in

thread techniques. Adeline Contreras sees

sculpture as a form of research, a way of placing

material in a space that confronts the viewer’s body.

Her sculptures explore collective memory.

She prefers materials that already have a history,

that are part of a continuity and that give a new

perspective, blending individual history with

collective history, with our common archaic sense:

the womb, the original habitat, the envelope.

Adeline Contreras extends this work with the

creation of artist’s books, telling stories that speak of

silence and the reminiscence of origins.

She regularly exhibits in museums such as the

Texture Museum in Belgium, the Bibract

Archaeological Museum, contemporary art centers

such as LAC&S-Lavitrine and the Villa Datris

Foundation in France, and the Textile Art Biennial

in Mexico.

AMELIA NIN

Berlin, Germany

INSTAGRAM: @amelia.nin.artist

WEBSITE: amelianin.com

Amelia Nin is an Uruguayan textile artist who

lives and works in Berlin since 2007. She has

been among fabrics, wool and threads since her

childhood, with her grandparents she learned to

weave and embroider, from them she inherited

her passion for textiles. She studied Textile Design

at the Design School University of Uruguay and

worked for the industry designing fabrics for more

than 10 years. She lived and worked in Mexico City

for 5 years, an experience that marked her and led

her to rethink her goals as a textile designer. This

experience strengthened her interest in artisan

work and the different ancestral textile techniques;

research and experimentation thus regained

prominence in her work. Her works address the

relationship between the micro and macro cosmos,

themes such as the origin of things, our vulnerable

existence in the universe, our connection with nature

and our relationship with the planet. Her latest works

are inspired by lichens, as ancestral as the history of

the earth and whose essence contains a metaphor:

they are the result of a symbiosis, of an intimate

union between two organisms of different species,

united for mutual benefit in their vital development.

This makes such a delicate and sensitive organism

to be at the same time one of the strongest and

most resistant in the natural kingdom. Interestingly,

it is this intimate association, this union, which is

the cause of its greatest strength and which has

allowed it to survive to the present day, thus making

it a witness to humanity. Her creations have been

exhibited in Mexico, Germany, the United States

and Ukraine. Her works are part of diverse private

collections in Germany, Mexico and Uruguay.

ANNA CARMONA

Girona, Catalonia

INSTAGRAM: @lanna__c

Lanna C is an artist born in Girona, Spain with a

great international projection. During her childhood

she has been accompanied by the life stories of

her grandmother, a worker in the textile factories of

Sallent and Artés, as well as fabrics, threads, sewing

machines and a lot of creativity on the part of her

mother. dressmaker of hers A past that marks him

and discovers an art with many possibilities.

She began studies in furniture restoration and

polychromy and continued with forays into the world

of carpentry, carving, and restoration techniques.

She progressively trained and experimented in

other artistic disciplines such as furniture design

with metal plates and later she introduced herself to

artistic textile design. All this knowledge is applied

and valued through weaving and experiments

combining the techniques learned with different

materials and shapes her own language with which

she grows as an artist and as a person, inspired by

works by artists such as Olga de Amaral, Jagoda

Buić, Josep Grau-Garriga and Ricardo Bofill.

Eclecticism and decomposition, experimentation and

luxury, constant transformation and family heritage

linked to fabric. She has held various exhibitions

in her city and currently, her creations already live

in Madrid, Marbella, Paris, London, Las Vegas,

California and Florida.

ARIADNA PASTORINI


INSTAGRAM: @ariadna_pastorini

WEBSITE: ariadnapastorini.com

Ariadna was born in Uruguay in 1965.

She lives and works in Buenos Aires, Argentina.

She graduated from the National School of Arts in

Buenos Aires. Lived in Germany from 2001 to 2007.

She is a multidisciplinary artist who combines textile

art with performance, soft sculpture and video. Her

work is also related to the fields of fashion and

design. As an editor of her books, she also curates

events in collaboration with other artists. Her work

has been exhibited in Germany, France, Canada,

USA, Spain, Italy, Brazil and Argentina.

Her works are part of public and private collections

in Argentina, Germany, Spain, Museum of Modern

Art of Buenos Aires, Macro Museum of Rosario,

Santa Fe, National Museum of Fine Arts of Buenos

Aires, Bruzzone Collection, Amoedo Collection, Rios

Collection, among others. Her most recent

exhibitions were at the Amalita Fortabat Collection,

Museu textile, Brazil, Fundacion Proa, Museo de la

memoria, Museo de arte Moderno, Buenos Aires,

Bienal textile in Madrid, Spain.

Awards received: 2022 Konex Award, Diploma of

Merit. 2020 Exceptional grant from the Oxenford

Collection and Alfonso and Luz Castillo Foundation

Grant. 2019 Oxenford Collection Artist Travel Grant.

2018 Pollock Krasner Foundation Fellowship.

2017 SNAV Award, Installations and Alternative

Media. 2016 FNA Creativity Grant. 2000 Artist

Residency The Banff Centre of the Arts, Canada

with Fundación Antorchas. 1997 Kuitca Grant.

1996 Buenos Aires Art Critics Association Award, for

the performance “viva la muerte”.

BARBARA BRYN KLARE

OH and San Francisco Bay Area, USA

INSTAGRAM: @barbarabrynklare

WEBSITE: barbarabrynklare.com

Barbara Bryn Klare (she, her) is an artist with

studios in the San Francisco Bay area and

southeastern Ohio. Her artwork has been shown

nationally and internationally, including solo shows

at the Cleveland Botanical Garden and hugomento

gallery in San Francisco, and group shows at Miami

Art Week / Art Basel, Yerba Buena Center in San

Francisco, Touchstone Gallery in Washington DC,

Die Kunstschaffenden in Linz Austria, and Ruskin

Gallery in Cambridge UK. Artist residencies include

Cambridge Sustainability Residency, OpenWabi

in rural Ohio, and Textilsetur in northwest Iceland.

In 2019 she was awarded the Making for Good

Artist-in-Residence at Dairy Barn Arts Center,

exploring textile waste and climate change. Ms

Klare received a BA in geology and studio art/art

history from Oberlin College and an MA Fine Art

Merit from University for the Creative Arts (Barnsley

UK). Previously, she worked as a freelance textile/

surface designer in SF and LA and as a professional

writer and editor.

BRUNA OCTAVIANO

São Paulo, Brazil

INSTAGRAM: @brunaoctaviano

WEBSITE: brunaoctaviano.com.br

Bruna Octaviano (1980) was born in São Paulo

and graduated in architecture and urbanism by the

traditional Mackenzie University. In London, between

2004 and 2008, she took courses related to the fine

arts and design at institutions such as Sotheby’s

Institute of Art and Central Saint Martin’s College of

Art & Design. In 2008 she specialized in Furniture

Design with the designer Angélica Santi, by OAD -

Oficina de Arte e Design. She worked as furniture

designer for Tok & Stok and large industry woodwork

from the South of Brazil. Currently, Bruna works in

her own studio, where she develops tapestry pieces.

Her art work with the loom began in 2014, when she

made a trip to the interior of Piauí and learned the

technique of the comb loom lesson (tear de pente

liço). Since then, she has developed her own style,

with contemporary tapestries, created from various

materials and the wools and lines, the basis of her

work, are dyed by her, creating unique and natural

tones and hues.

CAROLINA CARUBIN


INSTAGRAM: @carolinacarubin

WEBSITE: carolinacarubin.com

Carolina Carubin (Mendoza, Argentina, 1971)

graduated as an architect and is a visual artist.

Until 2011 she lived in Mendoza, a province in the

Andes Mountains, where she studied architecture

and began her training in art. In 2012 she moved

to the city of Buenos Aires and focused on visual

arts. She studied in the workshops of Paula Rivero

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and Mirta Kupferminc, attended artwork clinic with

María Carolina Baulo and in Cazadores Foundation

with Sergio Bazán, Agustina Núñez, Valeria Vilar,

Florencia Qualina and Leila Tschopp. She has

participated in workshops on: artist’s book (Carla

Beretta), paper fretwork (Laura Dalton), plant

papers (Silvia Turbiner), soft sculptures (Silvia

Turbiner), work writing (Laura Casanovas). She

currently participates in the Artwork Laboratory with

Leila Tschopp. Since 2014 participates in national

and international exhibitions: National Textile Art

Salon Raggio Foundation (Buenos Aires, 2023),

Cultural House Villa Carmen (Buenos Aires, 2023),

Pre-selection Itaú Visual Arts (Buenos Aires, 2023),

Argentine Center of Textile Art (Buenos Aires, 2023

and 2022), Cazadores Foundation (Buenos Aires,

2023 and 2022), Manuel Belgrano Textile Salon

Museo Sívori (Buenos Aires, 2022), Art on Paper

Fair (New York, 2018), BADA (Buenos Aires, 2018,

2017, 2016), Fortabat Museum (Buenos Aires,

2018), UBA Law School (Buenos Aires, 2018, 2017,

2017, 2016, 2015 and 2014), Argentine Society of

Architects (Buenos Aires, 2016), amongst others.

CAROLINA VAZ

Lisbon, Portugal

INSTAGRAM: @carolinavaz.studio

WEBSITE: carolinavazstudio.com

Carolina grew up in an artistic environment which

instilled a desire to experiment different types of

manual work and allowed her to explore countless

materials, textures colors. After graduating in Visual

Arts, she studied advertising and production of

shows, and finalized her studies with a Master’s

Degree in Cultural Management. Since then,

Carolina has maintained this contact with Arts and

Culture, organizing cultural events. At the same

time, always inspired by the artistic sector, her

desire to create grew and she began to explore

the arts of textiles by teaching herself macramé.

Since then, she decided to learn and deepen other

techniques such as tapestry and embroidery that

would allow her to create different pieces and sew

new stiches to an abstract style. Carolina’s creative

methods flows freely and intuitively. Her drawings

and embroideries take place organically on screen.

CARRY DOORN

Amersfoort, Netherlands

INSTAGRAM: @carry_doorn

WEBSITE: carrydart.com

Carry Doorn is a Dutch artist. A few years ago she

switched career to become an artist. Until that time

she was a successful fashion designer. All along her

career she couldn’t resist making and selling art.

Lately she has decided to devote herself entirely to

making art. Her love for, knowledge of and feeling

for textile is now expressed in her art work.

Nowadays she creates artworks that are not only

visually appealing but also carry deeper meaning.

Carry is fascinated by how we as human beings

relate to each other and to ourselves in the world

and environment we live in. This serves as the

inspiration for her work. She participates in national

as well as international exhibitions and art fairs.

TECHNIQUE: For her 3D works, Carry Doorn uses

Plexiglas panels or welded steel frames covered

with canvas. She builds the artwork in various

layers, incorporating transparent tulle, metal mesh,

or organza silk. This can result in either figurative

or abstract images, such as expressive faces or

graphic shapes. The materials she uses include

acrylic paint and spray, brushes, a scalpel, scissors,

and a sewing machine, as well as hand embroidery

with thick thread.

CARRY DOORN: Born in Utrecht, Netherlands.

Resides and works in Amersfoort, the Netherlands

EDUCATION & QUALIFICATION: School of Arts,

Utrecht | Fashion and Design. Member of De

Ploegh, National Artists Association

www.carrydart.com | +31 (0)6 28849250 |

carrydoorn@me.com | Instagram - carry_doorn

ART FAIRS & EXHIBITIONS: 2023 - Affordable

Art Fair, 1 t/m 5 November, Amsterdam, the

Netherlands; 2023 - Galerie De Kunstberg,

Exhibition:

CATHY JACOBS

Ann Arbor, Michigan, USA

INSTAGRAM: @cathyjacobs_art

WEBSITE: cathyjacobs.com

Cathy Jacobs (American) creates woven, 3-

dimensional artworks that balance between painting,

sculpture, and textiles. She received a BFA in

painting from Wayne State University in Detroit. She

later discovered weaving as an MFA candidate at

Eastern Michigan University in Ypsilanti, Michigan.

She has exhibited artwork throughout the United

States, Canada and the United Kingdom, most

notably at the World of Threads Festival in Ontario,

Canada, the Architectural Digest Design Show in

New York City, SOFA Expo (with Next Step Studio

and Gallery) in Chicago, and with Cluster Crafts in

London, England. She lives with her husband in Ann

Arbor and works at her studio in Ypsilanti, Michigan.

CECILIA ACEVEDO CASTRO

Talca, Chile

INSTAGRAM: @ceciliartist

WEBSITE: ceciliartist.com

Cecilia Acevedo is a Chilean born in the Seventh

Region (1988), a professional Kinesiologist whose

career was completely transformed during the

pandemic, becoming an artist in August 2020 when

she released her first artwork “Quantum World.”

Captivating both national and international attention,

thanks to her eccentric technique called

“Crochetpainting.” Drawing on her kinesiology

experience and knowledge, Cecilia merged her

passion for crochet with the world of art. Using

textile fibers, she works the crochet as if it were

human tissue. With a neuroscientific approach,

Cecilia can influence the viewer’s internal reactions

through her artwork, creating unique multisensory

experiences. Her creations are daring and

challenging, breaking barriers between disciplines

and exploring new forms of artistic expression. She

has participated in numerous solo exhibitions and

artistic events such as Artweek Chile, Universidad

Autónoma de Chile, XIV Florence Biennale in Italy,

StART ART FAIR London, The Moiras in Spain, and

São Rafael Galleries in Portugal.

CHARLOTTE SCHMID-MAYBACH

Los Angeles, California

INSTAGRAM: @clsmstudio

WEBSITE: charlotteschmid-maybach.com

Charlotte Schmid-Maybach is a visual artist working

with photography, thread and assemblage. Originally

from San Francisco, she earned her BA from UC

Berkeley in South Asian civilization and MA in

Photojournalism from the University of Missouri,

Columbia. Her background as an archaeological

photographer in Pakistan and fifteen years as

a newspaper photojournalist have informed her

artwork. Charlotte started studying with artist Tom

Wudl in 2016 and made the transition to a full time

studio practice. She received the Photolucida Critical

Mass Top 50 photography award in 2021. Her work

has been shown at the Fuller Craft Museum, Neutra

Institute Museum, Themes + Projects Gallery,

Lois Lambert Gallery, Center for Photographic Art,

Colburn School of Music, Brand Gallery and others.

Charlotte is based in Los Angeles, and her work is

held in private collections in the U.S.

COURTNEY COX

Chattanooga, Tennessee, USA

INSTAGRAM: @courtneycoxart

WEBSITE: courtneycoxart.com

Courtney Cox is an award-winning and

internationally exhibiting fiber artist specializing in

hand embroidery. Using the humble tools of needle

and thread, Cox addresses modern observations

through an ancient lens. Her work often uses

portraiture to depict experiences and stories. Cox’s

work has been awarded, exhibited, and published

across four continents. She has been a member

of the Society of Embroidered Work since 2020.

Originally from Austin, Texas, Cox has traveled

widely, visiting 29 countries. She now resides in

Chattanooga, Tennessee with her husband and

dogs.

CRISTINA LISOT

Caxias do Sul, Brazil

INSTAGRAM: @portfolio.cristinalisot

WEBSITE: cristinalisot.com

Cristina Lisot was born in 1973 in Caxias do Sul,

a city in the southernmost region of Brazil. She

currently resides and works in this city. Her research

interests revolve around identity processes, which

she expresses through textile and performing

arts. Cristina operates across various disciplines,

including performing arts, visual arts, and body

sciences, bringing these fields together.

From a young age, she learned knitting, sewing,

and dance. In 1998, she began her career in

contemporary dance and joining the ensemble

of the Caxias do Sul Dance Company as a

permanent member from 2006 to 2013. Alongside

her rigorous training in Biochemistry at Rio Grande

do Sul Federal University-UFRGS, she pursued

undergraduate courses in Visual Arts, Dramatic Arts,

and Physical Education, crafting her own hybrid

curriculum.

Cristina holds a postgraduate degree in Body and

Culture: Teaching and Creation from Caxias do Sul

University-UCS. Her studies focused on costume

and dance. She also holds a master’s degree at

UFRGS, where she lectured on the biologicalcultural

identity of an Italian colonization area in

southern Brazil. Additionally, she spent time as a

resident at the American Dance Festival-ADF at

Duke University-USA. In 2019, during her residency

at ADF, she furthered her research on body and

textiles, resulting in the creation of an art object

called ○, which bridged the gap between the black

box (stage) and the white cube (gallery) for her

artistic production.

Cristina has participated in collective exhibitions

such as “O que ancora” (2023, Rio de Janeiro),

“Fuorisalone” (2022, Milan), “Romper a Superfície

é abrir um rio para dentro” (2022, São Paulo), and

“Fibra I Textile Art Biennial (2019, Porto Alegre). She

has also held solo exhibitions including “Jardim de

Roccas” (2023, Caxias do Sul), “Tu, costura!” (2022,

Caxias do Sul), and “Tudo” (2022, Porto Alegre).

Cristina has been recognized for her artistic

contributions, receiving the FAC Visual Arts Award

from the Rio Grande do Sul State Secretariat for

Culture in 2021 and the Best Characterization Award

for Kaleh’s costume from the Secretariat of Culture

of Capão da Canoa in 2023. She has published

chapters in the books “Pags. da Dança” (2018)

and “E por falar em corpo performático” (2013).

Additionally, in July 2023, she will be launching an

art booklet with the same name as her “Jardim de

Roccas” exhibition. Her visual works can be found in

the AMARP-Acervo Municipal de Artes Plásticas de

Caxias do Sul-Brazil.

Currently, Cristina is involved with the Hermes Artes

Visuais follow-up group, continues to create works

in textile and movement arts, and is represented

by the Samba Art Gallery. She also continues her

career as a biochemist and occasionally teaches

arts and dance.

DENISE BLANCHARD

Santiago, Chile

INSTAGRAM: @deniseblanchard

WEBSITE: deniseblanchard.cl

Denise Blanchard is a Chilean visual artist known

for her work in visual textile and as a docent. She

was born in Viña del Mar and currently resides in

Santiago. Denise earned a degree in Fine Arts from

the Pontificia Catholic University in Santiago.

Throughout her career, Denise’s artwork has been

exhibited in various art museums, fairs, and galleries

around the world. She has showcased her pieces

at prestigious events such as SOFA Chicago in the

United States, the Iberoamerican Textile Network

in Costa Rica, and the World Textile Art (WTA)

exhibitions in Mexico, Argentina, Uruguay, and

Spain. Her artwork can also be found in prominent

hotels like Enjoy in Antofagasta, Sheraton San

Cristobal, and Noi Hotel in Santiago.

Denise’s work has been featured in renowned art

fairs including FILSA in Brazil, FAXXI, CHACO in

Santiago, and Mapa in Buenos Aires, Argentina.

Additionally, her pieces can be seen on Hiddenheroes.net

from Vitra Design in Germany. She

actively participates in collective exhibitions both in

Chile and internationally, such as “País Sonhado”

at the Memorial de A. Latina in São Paulo, Brazil,

and “Ultravioleta Chant sur toile” at Galerie

Mamiabretesche in Paris. Her most recent solo

exhibition took place in 2013 at Galería Arte Isabel

Aninat in Santiago. Denise Blanchard has received

several notable recognitions and prizes for her

artistic contributions. These include the 1st prize in

the National Painting ENTEL Contest in Santiago,

Chile (1990), being listed on the Honor Roll in the

5th Marco Bonta Painting Contest in Santiago, Chile

(2003), and receiving the 3rd prize in the “Un Mundo

habitable Huidobro” Painting Contest in Santiago,

Chile (2004). Her last prize is PAM prize for women

art recognition. Since 2014, Denise has been a

member of the collective ARSFACTUS, collaborating

on various artistic projects. Notable among these

are “Arslibris: 12 Chilean Women Artists Work in

Honor of Gabriela Mistral and Isabel Allende,” which

involved book interventions for the Gabriela Mistral

Foundation in New York (2014), a residency at the

Factoría de Arte Santa Rosa in Santiago, Chile

(2015), and a residency in Los Vilos, IV Región,

Chile (2019). Through these endeavors, Denise

continues to contribute to the art world and explore

new creative avenues.

ELLEN DYNEBRINK

Gothenburg, Sweden

INSTAGRAM: @ellendynebrink

WEBSITE: ellendynebrink.se

In 2017 Ellen received a MFA in Textile Art from

HDK-Valand, University of Gothenburg, and in 2014

a BFA in Textile Design from The Swedish School of

Textiles. Between 2019-2020 she undertook studies

at the post-master class Research Lab CRAFT! at

Konstfack, University of Art, Craft and Design. Her

work has been exhibited in galleries and museums

both nationally and internationally; Format Gallery

(Oslo), Konstepidemin (Gothenburg), Charlottenborg

Kunsthall (Copenhagen), 3e våningen/GIBCA

Extended (Gothenburg), Gustavsberg Konsthall

(Värmdö), Nina Sagt Gallery (Düsseldorf). In 2021–

2022 she participated in the IASPIS residency

program in Stockholm for 6 months at The Swedish

Art Grants Committee.

ERI IMAMURA

Kawasaki, Japan

INSTAGRAM: @eriimamura.beads

WEBSITE: eriimamura.com

Born in 1977 in Tokyo, Eri Imamura lives and works

between Tokyo and Bangkok. In 2001, she got a BA

majoring in Textile Arts from the Tokyo University of

the Arts, the most prestigious art school in Japan.

From 2003 to 2007, Eri had been encountering a

life-changing experience in New Mexico, United

States: her long-lasting residency among Native

Americans led her to full training in Amerindian

beading artistry under the supervision of Teri

Greeves, a renowned beadwork artist. This later

materialized with her Associate Arts (AA) degree in

Indigenous Studies from the Institute of American

Indian Arts, Santa Fe, awarded with highest honors

in 2007. In the wake of these seminal achievements,

her torsos, bas-reliefs, and installations employ

cross-cultural and multidisciplinary expertise, from

Manga and tattoo art to animist beliefs and rituals.

Ultimately, the art of Eri Imamura mirrors the fate of

modern urban societies entrapped in materialism

and the deep aspiration of her contemporaries

to reconnect spiritually with nature. Her work is

collected across continents, from America to Asia.

Public & Corporate Collections UBS, San Juan,

Puerto Rico Mint Museum, Charlotte, North

Carolina, USA 21C Museum Hotel, Louisville,

Kentucky, USA Alturas Foundation, San Antonio,

Texas, USA Fidelity Investments Collection, Boston,

Massachusetts, USA Private Collections

Wide range of private collections in: - Asia:

Singapore and Hong Kong

FERNANDO SOARES

São Paulo, Brazil

INSTAGRAM: @fernandofvsoares

Fernando Soares was born in São Paulo in 1988,

where he lives and works. His work discusses the

pictorial nature of matter itself, starting from the idea

of dichotomy, he projects physical and psychological

tensions in his works through paintings/objects,

collages, videos and installations. In many works,

latex is used as raw material, straining relations with

the concept of expanded painting and textile art. He

began his studies and productions at the age of 17,

to later attend Hermes Artes Visuais (2016 – 2021),

where he participated for 5 years in the development

of projects and monitoring of his production, guided

by Nino Cais, Carla Chaim and Marcelo Amorim.

He received first place prize at the “48th Salon of

Visual Arts Novíssimos” (Rio de Janeiro, 2019)

and first place prize at the “11th Salon of artists

without a gallery” (São Paulo/Belo Horizonte, 2020)

held at Galeria Zipper , Lona Galeria and Murilo

Castro Gallery. Part of the collection of the Textile

Museum (New Orleans, USA, 2023). He participated

in several collective and individual exhibitions in

galleries, salons, fairs and institutions, among

which the following stand out: “Irruption – Corpo

Invasivo” (Galeria Andrea Rehder 2021, São Paulo);

“Paço das Artes – Project Season 2020” (São

Paulo); “SAV (Vinhedo Visual Arts Salon)” (Cultural

Center “Engenheiro Guerino Mário Pescarini,

2022); “Physiognomy in contradiction” (Museum

of Northern History, Ontario, Canada, 2022);

“51st Contemporary Art Exhibition in Piracicaba”

(Pinacoteca Miguel Dutra, 2019); “8th DAP

Londrina” (Londrina, 2020); “26th and 27th Salon

of Visual Arts in Praia Grande” (2019, 2021); “VÃO

Space for art” (São Paulo, 2018). He participated in

an artistic residency at Kaaysa (Boiçucanga, 2019)

and Projeto Rizoma residency at Galeria Andrea

Rehder (São Paulo, 2019). He creates the group

“TREM Artes Visuais, 2021” together with the artist

Adriano Franchini, where he acts as an advisor,

virtually teaching several artists, in addition to being

invited as a curator in the Casa Tato 7 program.

FRANZISKA WARZOG

Hannover, Germany

INSTAGRAM: @franziska_wzg

WEBSITE: franziska-warzog.de

Franziska Warzog, nee Cohnen, was born in 1966

as the daughter of an artist couple in Amsterdam.

Since 1973 she lived in Holzminden, Germany,

where she spent her school years. Then she studied

Ethnology and German Philology at the University of

Göttingen, graduating with a Magister artium. During

her studies she created her first works in oil on wood

and canvas. For two years she lived in Oldenburg

(Oldenburg), where she continued her paintings in

oil and acrylic. Since 1998 she lives in Hannover.

Here she began to work mainly with textile materials.

Three-dimensional sculptures were created, then

relief-like paintings, before a phase of sculptural

work followed again. Franziska Warzog is married,

mother of two daughters and grandmother of two

grandchildren.

GABRIEL PESSOTO

São Paulo, Brazil

INSTAGRAM: @gabrielpessoto

WEBSITE: gabrielpessoto.com

Gabriel Pessoto (Jundiaí - São Paulo, Brazil,

1993) studied Audiovisual Production. Merging

digital technologies and visualities from traditional

handicrafts, the artist discusses issues such as the

construction of desire from the image, digitization

of culture, memory, intimacy, sexuality and gender

roles. In 2015, he began to exhibit works in group

shows. Since then, he had already showed his

works in different cities, such as São Paulo, Rio de

Janeiro, Curitiba, Lisbon, Porto, Berlin, Tehran, and

Louisville. Since 2017, he lives and works in São

Paulo, where he attended the Hermes Artes Visuais

art project monitoring group. In 2018, he held his

first solo exhibition in São Paulo, “um pouco por dia

já é muito” (a little a day is a lot), at the Casa da Luz.

In 2020, he was awarded by ArtConnect Magazine

for the project “trocando figurinhas” (swapping

stickers) developed in partnership with Nicole Kouts.

In 2021, he presented the solo exhibition “Ambiente

Moderno” (Modern Ambience) at the Fundação

Ecarta in Porto Alegre. In 2022, he launched his first

artist book, “Ambiente Moderno”, and presented

the exhibition “Realidade Virtual” (Virtual Reality)

at Paço das Artes with critical text by Pollyana

Quintella, in São Paulo.

GAËLLE BOSSER

Paris and Loiret, France

INSTAGRAM: @bossergaelle

Gaelle Bosser was born in Paris. First working

as a bookseller, she started Art studies at La

Sorbonne Paris aged 25. For over one year, she

was the assistant of Brazilian artist Lygia Clark,

building Cabeça Coletiva for her.She worked

both as an artist and an art teacher at l’Ecole

Alsacienne, French high school in Paris, famous

for her pedagogy and experimental methods. She

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is a Visual Art doctorate. She learned weaving in

Britany with Anne Fontaine. In 2003, she travelled

to Mali by herself to visit villages in Bandiagara

and observe Dogon’s practices of weaving and

spinning. As as sculptor, she deals with textiles (

sewn materials, crocheted forms with various kind

of threads, embroideries, weaving, vintage clothes

out of their ordinary use) combined with pieces

of wood or glass objects.She realizes outside

performances mostly by the seaside and textile

installations.She had an exchange with Hans

Peter Feldmann, conceptual German artist and she

sewed several clothes for him according to his short

proposition in Galerie Durand Dessert. Photos of

these dresses were reproduced in the big catalogue

for his exhibition at MEP Paris.In 1995, she had a

correspondance with Louise Bourgeois about the

translation of sensations through materials and

writing practice.Words and titles are very important

in her practice. She wrote poetry and some of her

texts were published in Le Journal des Poètes,

Belgium. She also wrote film analyses and articles

for Le Cinéma des Cinéastes, France Culture and

the review CinemAction.References or allusions to

litterature are frequent in her textile works.She has

been selected by MuseuTextil in April 2023. Next

collective exhibition will take place in November at

MACPARIS. Solo show at POCTB Orléans May/

June 2024.

GEORGIA FAMBRIS

Athens, Greece

INSTAGRAM: @penelope_left_the_building

WEBSITE: georgiafambris.weebly.com

Georgia Fambris (born in 1973 in Genoa ,Italy) is a

contemporary artist based in Athens (Greece) were

she moved since 1993. Fambris creates abstract

works that explore mostly female bodies in relation

with society’s conditions andobstacles. Her practice

includes principaly painting and tufting art, but also

ceramic and new media. She studied painting and

byzantine iconography and graduated from the

School of the Holy Metropolis of Piraeus Greece and

has worked as hagiographer in Greece, Cyprus

and the United States. Since 2012 her artistic

process focused on seeking that imaginary which

is potentially equivalent to her own subjective view

. The painter’s world is occupied by narratives with

logical or ‘absurd’ symbolisms and an expressionist

tension, aimed at ‘sabotaging’ the anticipated

rendering of the female form with humour, subtle

irony and an inner sensibility; she comments on

the stereotypical female image as constructed

by the fashion industry and adopted by society,

proposing instead the recognition of uniqueness

and self-definition. She has held 4 solo exhibition

and participated in more than 20 group exhibition in

notable galleries and museums in Greece , Italy and

abroad such as the National Archaeological Museum

of Athens, the Byzantine Museum of Culture of

Thessaloniki, the Museum of Contemporary Art of

Palermo ,the Museum of Contemporary Art Villa

Croce in Genoa and Art Madrid, SWAB, as well as at

the 6th Athens Biennale, among others.

GUACOLDA

Paris, France

INSTAGRAM: @guacolda

WEBSITE: guacolda.com

Guacolda is a graduate of the Ecole Supérieure

des Beaux-Arts in Paris, she has since taken on all

mediums, painting, engraving, photography, and

finally embroidery, which she continues to confront

and reinvent. His works are present in various

private and institutional collections. She lives and

works in France near Paris.

Her work is presented in the book “ From Thread

to Needle” by Charlotte Vannier.From Thread to

Needle: Contemporary Embroidery Art https://amzn.

eu/d/fj8xJBA

GÖZDE JU

Frankfurt and Main, Germany

INSTAGRAM: @gozde_ ju

WEBSITE: gozdeju.com

Born in Adana/Turkey in 1992. Following her

graduation from a Fine Arts High School in 2009,

Gözde Ju started studying in the Faculty of Fine

Arts at Anadolu University. She graduated from

the Printmaking and Painting departments (double

major). In 2018, she obtained her master’s

degree with the thesis on “ Spatial Searches

in Contemporary Printmaking Art”. Her master

thesis focused on the evaluation of Printmaking in

the context of space and contemporary art. The

artist took part in various exhibitions in different

countries. She continues to work at her studio in

Frankfurt am Main, Germany. In the most general

form, she uses different materials such as found

photographs, textile as a tool in her works aiming to

touch upon the issues of identity, culture, memory,

gender and belonging. The artist is researching

the relationship of concepts such as memory and

culture with space. Gözde Ju aims to point out the

reality and uncertainty of women’s memories, past

and consciousness by benefitting from the found

photographs and dowery. She also aspires to make

roles of women and concepts of identity, gender and

memory questionable.The objects that she uses,

beyond being only remembrance, express the sociocultural

content. These make cultural memory which

is anchored in the time and space visible.

Selected Shows: 2023 “Bien” Textile Art Biennial

2023 ,The Museum of Škofja Loka, Kranj, Slovenia;

2023 “Enable”, Presented by Eulengasse,

Supermarket Art Fair Stockholm,Sweden;

2023 “Reconsider”, Municipal Gallery of Gjilan,

Eulengasse Gjilan, Kosovo; 2023 “Home Coming”

Group Show, Kairos Gallery, Embassy of Ireland,

Istanbul,Turkey; 2023 “An und Ab Wesenheit”

Group Show, Atelierfrankfurt Projekt Raum,

Frankfurt, Germany; 2022 “They Belong To Me”

Bureau D`Art Et De Recherche, Roubaix, France;

2022 The Platform Project International Art Fair

“Stranger To”, Athens, Greece; 2022 “Here We Are”

Kunstverein Familie Montez, Frankfurt, Germany;

2019 Nanjing University of Aeronautics and

Astronautics, Art Exchange Week, Nanjing, China;

2019 5th Contemporary Art Project Competition,

CerModern Museum, Ankara, Turkey; 2018 Anadolu

Uni.Printmakig Department,School of Art Changzhou

University, Changzhou, China; 2017 Arbeitswelt

und Undustrialisierung Anatoliens, LVR Museum,

Solingen,Germany; 2016 Artists For Nature, Society

of Wildlife Artists, Mall Galleries, London, England;

2016 Bugünden Yarına, CerModern Museum,

Ankara, Turkey.

IPHENO

Limassol, Cyprus

INSTAGRAM: @ipheno__

Iphigenia Papageorgiou was born in Cyprus and

her work involves the ‘Street’ style as she prefers

to contribute to public spaces with her embroidery

installations on the walls. She has found her own

special way of creating portraits on metallic fence

using upcycled fabrics. It is a long process using

this thread-pattern though she finds it challenging to

finish one piece and watch the outcome. Iphigenia

graduated in 2011 from UCA (Canterbury) with

BA(hons) Fine Art and from Kingston University

with Masters in Arts in 2012. She finds inspiration

in people related to every day life and society.

Meanwhile she is playing around with shadows

being created depending on the daylight. You can

find her work at several places in Limassol at the

moment. She likes to leave her mark wherever she

tis travelling to like she did in Greece and Paris.

IRINA LAAJA

Malmo, Sweden

INSTAGRAM: @irina.laaja

WEBSITE: irinalaaja.com

Irina Laaja, b. 1989, is originally from Vasa, Finland.

She took her Masters degree in Fine Arts from

Umeå Academy of Fine Arts in 2020, and her

work has been shown in various group exhibitions

in Sweden and internationally, as well as in solo

exhibitions such as ReTramp Gallery Berlin (2017),

Galleri Majkens Stockholm (2018), RYMD Gallery

Reykjavik (2019), Galleri Alva Umeå (2022) etc.

She has received grants and awards including The

Royal Academy of Fine Arts (2020), First Prize

Winner of New Emergence Art Unity Award (2020),

and others. Irina is currently living and working in

Malmö, Sweden.

JASON KRIEGLER

Mexico City, Mexico

INSTAGRAM: @jasonkriegler

WEBSITE: jasonkriegler.com

BIO

Kriegler’s work has been exhibited both within the

U.S. and internationally.

He currently lives and works in Mexico City, Mexico.

__

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 Bauhau 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,

Anni Albers, Bryce Marden, Anslem Keifer, Franz

Kline, El Anatsui, Helen Frankenthaler, Sheila Hicks,

Ruth Asawa, Julie Mehretu and Cy Twombly 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 the both be

intertwined, infused.

‘Not the norm’ of traditions. i.e. hand embroidery into

paper 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, living and learning about

techniques old and new through the making of

textiles.

Receint Exibitions: 2021, Solo Show, Oliva Gallery,

Chicago, Usa; 2021, Group Show, Studio Ima,

Mexico City, Mx; 2022, Group Show, Galeria Patate,

Mexico City, Mx; 2022, Solo Show, Flux Lab, Mexico

City, Mx

JULIA COUZENS

Clarksburg, California

INSTAGRAM: @julia_couzens

WEBSITE: juliacouzens.com

Julia Couzens has exhibited drawings, sculpture,

and textile-based constructions in scores of museum

and gallery exhibitions throughout the United

States and internationally. Couzens received her

M.F.A from University of California, Davis and has

been a visiting artist at over 30 institutions. Her

work has been recognized with a Louis Comfort

Tiffany Fellowship and twice nominated for the

San Francisco Museum of Art SECA award.

Notable public collections include the Achenbach

Foundation for Graphic Arts, Fine Arts Museums of

San Francisco; Berkeley Art Museum and Pacific

Film Archive; Crocker Art Museum; Manetti-Shrem

Museum of Art; Oakland Museum of California;

Weatherspoon Art Museum; and Yale University

Art Gallery. Couzens lives and works in Northern

California’s Sacramento River delta. She is

represented by Patricia Sweetow Gallery, Los

Angeles.

JULIETTE LEMPEREUR

Bruxelles, Belgium

INSTAGRAM: @juliette_lempereur

WEBSITE: juliettelempereur.fr

In 2020, Juliette Lempereur completed a double

bachelor’s degree in algorithmic and design at

Grenoble University and the ENSCI-les Ateliers

design school in Paris. The following year, in 2021,

she also obtained her Certificate of completion of

recorder studies at the Erik Satie conservatory.

She went on to specialise in weaving at the Royal

Academy of Fine Arts in Brussels, graduating in

2023. In the meantime, Juliette has taken part in

several group exhibitions in Brussels (Art Truc Troc

fair at Tour&Taxi in 2022, Extra Small #7, a group

show at la Maison des Arts in 2022) as well as two

solo exhibitions in Grenoble (“Paysages tissés” - in

english “Weaved landscapes”- at La Vina gallery in

2022, and “Flottés” at Alter-art gallery in 2023).

Today, Juliette Lempereur’s practice is essentially

weaving -a slow and meticulous process, unfolding

at various scales-.

KASIA TONS

Peramangk and Kaurna lands, Australia

INSTAGRAM: @kasia.tons

WEBSITE: kasiarosetons.com

Kasia Tons is a textile artist working and living on

Peramangk Country. Hand embroidery and mask

making are central to her practice which sits at the

intersection of art, fashion, and craft. Her process

is slow and intuitive, colourful, and expressive. The

labour and time invested in creating her work acts

as an antidote to the fast pace of the modern world

and the addictive seeking of instant gratification

through digital means. Recurring thematic interests

include social impacts of digital technology use,

the Anthropocene, and interpersonal/interspecies

relationship dynamics. She has exhibited nationally

and internationally and has participated in

residencies in Iceland, the USA, Latvia, and the

Slovak Republic. The Rothko Art Centre, Latvia

holds two of her pieces as part of their permanent

collection and her work was selected as a finalist for

the 2021 Ramsay Art Award. She works part time as

an arts mentor.

KATHERINE HUNT

New Mexico, USA

INSTAGRAM: @katherineahunt

WEBSITE: katherinehunt.xyz

Katherine Hunt attended the University of

Minnesota-Minneapolis/St. Paul for her BFA in

Indigenous American Studies, double minoring in

Cultural Psychology and Women’s Studies, She

received her MFA in Film/Video from California

Institute of Arts, with an emphasis, while studying

abroad, on Curatorial Studies at La Cinémathèque

Française, Paris, France. Following graduation,

Hunt worked in Los Angeles in the art department

on music videos, feature films, and television shows

creating original art props, and set design. In 2020,

she was the recipient of grants from both the Andy

Warhol Foundation for The Visual Arts/ Fulcrum

Fund Grant and the Foundation for Contemporary

Arts. Having taught Studio Art Workshops at the

Detroit Institute of Arts, Hunt currently lives and

works in northern New Mexico, exhibiting within the

United States and abroad, and is represented by G2

Gallery in Santa Fe.

KERSTIN LINDSTRÖM

Härnösand, Sweden

INSTAGRAM: @k.lindstrom.harnosand

WEBSITE: kerstinlindstrom.se

Kerstin Lindström is situated in Härnösand, a

small town in the north of Sweden, where she

works in her own studio. Lindström have directed

and participated in several projects, nationally

and internationally and taken part in exhibitions,

both separately and in groups. Since 2011 she has

been carrying out an extensive project on time and

knitting titled OWN OUR OWN TIME. The work

has been enacted at six specific places in Gjogv/

the Faroe Islands,Lerwick/Shetland,Paris/France,

Quebec/ Canada, Borås/Sweden and Blönduos/

Iceland with over 600 participants from many

countries.

Selected exhibitions: 2023 The 7th Riga

International Textile and Fiber Art , Triennial

2023 awarded a silver medal by the international

jury; 2023 Supermarket Art Fair Stockholm

Sweden; 2021 Forssan Museo Forssa Finland;

2020 CONTEXTILE 2020 an international textile

biennale in Guilmaraes Portugal; 2020 THREADS

at Virserum Arthall Sweden. 2019 3rd International

Textile Biennial Haacht Belgium; 2018 Far out

textile Almgrens sidenväveri Stockholm Sweden;

2017 Kunstmaanland Ameland The Netherlands

2017 STATE at Sundsvall Museum,Sweden; 2015

Marc Rothko Center Daugavpils Latvvia.

KRISTINA PENHOET

Washington, DC, USA

INSTAGRAM: @momentframer

WEBSITE: kristinapenhoet.com

Originally from Oregon, Kristina began working

with fiber and textiles as a small child, learning

to crochet and sew during her summer visits to

her grandparent’s farm on an island in the Pacific

Northwest. After receiving her undergraduate

degree in Biology, she attended Otis College of

Art and Design, concentrating on sculpture and

environmental design, and received a master’s

degree in architecture from the Southern California

Institute of Architecture. She worked in film

production, stage design and architecture prior

to rediscovering fiber as a medium. In addition to

national and international shows, her work has been

shown at the Phillips Collection, the Delaplaine Arts

Center, and galleries throughout the Mid-Atlantic

region.

KRISTINE STATTIN

Castres, France

INSTAGRAM: @kristine_stattin

WEBSITE: kristinestattin.com

Kristine Stattin is a contemporary textile artist

predominantly working with free-motion machineand

hand embroidery, creating colorful, expressive,

and organic abstract thread paintings. She builds

her paintings in layers, stitch by stitch, sometimes on

a painted or hand-printed background. Each mark

intuitively gives direction to the next.

Kristine was born in Stockholm, Sweden, and is

currently based in the south of France. She is a

self-taught stitcher but studied Fine Art in Sweden,

Spain, and in the UK, where she earned a

Bachelor’s degree with Honors in Fine Art.

She has exhibited internationally in group

shows both online and in person, such as “Scythia”

Biennale in Ukraine, “From Lausanne to Beijing”

Biennale in China, “Threaded”, Envision Arts in

the US where she was awarded with Honorable

Mention, and “Surface and Depth” exhibition during

Rome Art Week.

LARA ZAPPA

Como, Italy

INSTAGRAM: @zappalara

I was born near Lake Como and after studying

humanities I started my artistic career. My first

participation in an exhibition was in 2018 at

Miniartextil in Como. I later exhibited in various

national and international group exhibitions. In 2019

I also inaugurated a personal exhibition in Bologna

in Italy.

LAURA RAMIREZ GARCIA

San Juan, Argentina

INSTAGRAM: @ramirezgarcialau

Laura nació y creció en un hogar humilde de la

Ciudad de San Juan, Argentina. Su madre era

modista y le enseñó desde muy pequeña a coser,

tejer y bordar. Creció rodeada de telas e hilos, sintió

mucho interés desde muy pequeña por la costura

y a medida que el tiempo pasaba, comenzó a

colaborar en algunas tareas como costurera.

En la universidad, estudia la carrera de Profesor

de Artes Visuales en la Universidad Nacional de

San Juan, mientras avanzaba con sus estudios,

simultáneamente comenzó a pintar cuadros,

obteniendo reconocimientos en salones de pintura

provinciales. Durante sus estudios universitarios,

cursa una materia dedicada al Arte Textil, que

despierta en ella, un gran interés y admiración por el

trabajo con las fibras. En el año 2018, concluye su

primer cuadro textil y obtiene Mención especial en

el Salón de Artes Visuales denominado “Impulsarte”,

en la Provincia de San Juan. En el año 2019

obtiene el Primer Premio en el en la 2da Edición

del Salón “Impulsarte”. Durante el año 2020, fue

convocada para participar en muestras virtuales

internacionales, realizadas de esta forma, por la

crisis sanitaria, entre ellas “100 días de increíble

arte textil” en Textile Curator. También ha participado

en Salones de Arte a nivel nacional como “Salón

Juego de Damas”, “66º Salón de Artes Plásticas

Manuel Belgrano”,”27 Salón Bienal Tapiz”- Museo

Sívori. Algunas de sus obras, forman parte de la

colección de la Galería de Arte Contemporáneo

Artify.

LIA PORTO


INSTAGRAM: @liaporto_art

WEBSITE: liaporto.com

Born in Patagonia, Lia lives and works in Buenos

Aires, Argentina. With a multidisciplinary practice,

grounded in painting and drawing she incorporated

embroidery, collages, and installations to explore

and interrogate about cultural identities, transcultural

influences, gender role, social standards and

aesthetics, borders and permeability. She uses the

domestic space and it´s relationship with the natural

world as a model for this investigation, and the

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ornament as the visual language that better evokes

symbolic links between these worlds. She has

exhibited widely in Argentina and in the USA, UK

and Spain. Some of her solo shows include “Perro

– Lobo” (2020) invited by ICBC Bank Fundation

in Buenos Aires; “Utotropico” (2018) awarded by

Centro Cultural San Martin in Buenos Aires and “The

works of Lia Porto” (2016) by Kroto Fine Arts in

Chicago. Lia was awarded fellowships for attending

multiple residencies, including Sacatar Foundation

(Itaparica, Brazil), Art Omi (New York, USA) and

I-Park Foundation (Connecticut, USA). She also

received the Janet Bass Award for Creativity and

Innovation at FiberArt International 2022, Pittsburgh,

Pennsylvania, USA , the 3rd Prize at Salón Nacional

de Artes Visuales, Palais de Glace 2021 (textile) and

the First Prize Acquisition at the III Salón Nacional

Vicentín 2014. She has been included in “The best

of 2014” collection by Saatchi Art. Her work has

been featured in many international art publishings

like Venti Journal, volume Senses (2022) https://

www.venti- journal.com/lia-porto , El Hurgador

Arte en Red (2022) https://elhurgador.blogspot.

com/2022/02/liaporto-pintura-textiles-entrevista.

html, Fiber Art International blog (2022)

https://fiberartinternational.org/lia-porto/ Textile

Curator (2020) https://www.textilecurator.com/homedefault/home-2-2/liaporto/

The New Collectors Book

(NY 2014), https://issuu.com/thenewcollectors2011/

docs/n cb_091413_book_full/59 Inside the Studio

Saatchi Art interview (2014) https://canvas.

saatchiart.com/art/inside-the- studio/lia-porto.

LINDA FRIEDMAN SCHMIDT

Franklin Lakes, New Jersey, USA

INSTAGRAM: @lindafriedmanschmidt

WEBSITE: lindafriedmanschmidt.com

Linda Friedman Schmidt is a self-taught, Germanborn

American artist known for her emotional

narrative portraits created from discarded clothing.

She was born stateless in a displaced persons

camp, the first child of Holocaust survivors who

discouraged her interest in art. Her thoughtprovoking

artwork explores and expands the

medium of textiles in new and exciting ways. She

boldly pushes the boundaries, pushes the limits of

materials, techniques, and concepts and captures

the human experience in an original and authentic

voice. Her artwork has been shown internationally

and throughout the United States in group shows

at the American Folk Art Museum, Allentown Art

Museum, Lyman Allyn Art Museum, Morris Museum,

Jersey City Museum, New Jersey State Museum,

Montclair Art Museum, Monmouth Museum, Noyes

Museum of Art, Attleboro Art Museum, Alexandria

Museum of Art, Koehnline Museum of Art, Loveland

Museum, Cahoon Museum of American Art, Saint

Mary’s College Museum of Art, Fuller Craft Museum,

San Jose Museum of Quilts & Textiles among

others. Her work has been featured in multiple

shows at The Untitled Space Gallery, New York,

including the REBEL Exhibition, and published

in The Untitled Magazine’s 10th Anniversary

Collector’s Issue. She has had solo shows at the

Lancaster Quilt & Textile Museum, and the Pascal

Gallery at Ramapo College. Internationally her work

has been exhibited in the UK, Japan, Portugal,

and Argentina. Her work has been selected for

exhibition by prestigious curators Judy Chicago,

Faith Ringgold, Anne Umland, renowned art critic

Donald Kuspit, and numerous others. Linda’s work

has been reviewed in Hyperallergic and has been

featured in international textile magazines Textiel

Plus and Mr X Stitch. She has been profiled in

Living Artists Magazine and Interlocutor Magazine,

among others. Linda’s work has been published

in books “Dress [with] Sense:The Practical Guide

to a Conscious Closet,” “The Art of Mothering: Our

Lives in Colour and Shadow,” “Fiberarts Design

Book 7,” “Contemporary Hooked Art: Themes and

Memories,” “Not Normal: Art in the Age of Trump,”

and various others. Her work is held in multiple

private collections. She is the subject of a 2017 short

documentary film “Under Her Skin: Linda Friedman

Schmidt” directed by Kelsey and Rémy Bennett. In

2023 she received a Fellowship Finalist Award from

the New Jersey State Council on the Arts. Currently

her work is on view in “Threading the Needle,” Mann

Gallery, Cornell University, Ithaca, New York.

LINDA MÄNNEL

Nuremberg, Germany

INSTAGRAM: @lindamnnl

WEBSITE: linda-maennel.de

Linda Männel, born 1983 in Hausham, Germany,

studied free art in the class of Diet Sayler at the

Academy of Fine Arts in Nuremberg from 2003-

2005. She continued her studies in free painting in

the class of Eva von Platen, which she completed

in 2009 awarded with the title of Meisterschülerin

(master student). In 2014/15 she participated

as artist in residence at a room that… in the

Baumwollspinnerei in Leipzig.In 2017 followed an

artist in residence stay at the Arthouse in Tulum,

Mexico. In 2021, she founded the Tillystudios in

Nuremberg with colleagues, where she has been

working to date. Linda Männel exhibits her work all

across Europe and is represented internationally in

public and private collections.

LOUISE HEIGHES

Maragte, UK

INSTAGRAM: @louise_heighes

WEBSITE: louiseheighes.com

Louise Heighes studied Textile Design at Central

Saint Martins and sold her final degree collection

to Chanel in Paris. She spent many years working

within the fashion industry, designing for luxury

brands such as Louis Vuitton, Azzedine Alaia,

Nike and Chanel. Examples of her work have

been included in Azzedine Alaia’s exhibitions in

London and Paris. It was here that she fell in love

with working with leather. The way it can be cut,

stretched, woven or folded into 3D shapes, while

still remaining soft and tactile, acts as a pallet for

her imagination and allows her to create wholly

original pieces of leather art. Building on her fashion

background, she is now using beautiful decorative

techniques with luxury materials to produce unique

art pieces for the interior design market.

LUCIANA DE CARVALHO MONTEIRO

São Paulo, Brazil

INSTAGRAM: @lu.cmonteiro

Luciana Monteiro (São Paulo, 1970) lives and works

in São Paulo. She has a degree in psychology and

studied fine arts in Panamericana School of Art

and Design. For two years she studied weaving

and artistic tapestry with Tiyoko Tomikawa at SESC

Pompéia and attended free courses in drawing and

art history. Since 2020, Luciana has participated

in a collective of women artists, in partnership with

Ateliê397, and has been dedicated to research and

experimentation in the area of textile and visual

arts, participating in collective exhibitions such as

FIBRA – I Bienal de Arte Têxtil Contemporânea, RS,

2019; “Sobre Monstros” – Lona Galeria, SP, 2022;

“Mesmo estando separados” – Ateliê 397, SP, 2023

and “Em tempos como estes” – Galeria Marília

Razuk, SP, 2023.

MARIANA PORTO

São Paulo, Brazil

INSTAGRAM: @marianaportoart

WEBSITE: marianaporto.com.br

Mariana Porto conceived and directed initiatives

such as Objeto Design, a studio that created

utilitarian products in cast aluminum, reforestation

wood and blown glass, and Jade Handmade, a

textile development laboratory that helped her

choose fabric as an artistic language. Graduated

in plastic arts from Faculdade Santa Marcelina,

Mariana had her work exhibited at Espaço Galpão

(São Paulo, Brazil), at Sesc Copacabana (Rio

de Janeiro, Brazil) and at the Museo Nacional de

la Acuarela (Mexico City, Mexico). In 2019 she

founded Atelier 284, an exhibition and cultural space

in São Paulo.

MARIE POURCHOT

Montpellier, France

INSTAGRAM: @marie.pourchot

WEBSITE: marie-pourchot.com/

After a master’s degree in anthropology, where

Marie Pourchot was led to reflect on the social and

cultural functioning and the psycho- sociological

patterns of societies, she followed several training

courses around textiles: featherwork, patronage,

embroidery.

hThen, in a form of intuitive automatism, she merged

her curiosities and reflections in the human sciences

with the textile techniques acquired. her reflections

have gradually found their axis around the themes

of interculturality, otherness and the circulation of

people and ideas. her objective is to materialize

them by creating works combining textiles (hand

embroidery), engraving and painting. The action of

embroidering not only allows him to become fully

involved in his subject, but also to restore through

the length of his elaboration the temporality of exile,

absence, displacement and the long process of

syncretism.

Awarded for the presentation of the performance

of worn art Kimonoshima, during the AtoufFil

competition in 2013, she also received a prize for

the artwork “voyage en phantasmagorie” during the

3rd biennale of textile art in Poznan, Poland. Her

work, mostly committed, is exhibited internationally.

MARTINA GRUND

Kiel, Germany

INSTAGRAM: @martina_grund_art

WEBSITE: martinagrund.com

Founding of a culture cafe in Landau Isar in 1987

Training as an embroiderer/seamstress in the

Franciscan convent in Aiterhofen Theater factory

Kampnagel/costume department Apprenticeship as

a garment master in Hamburg Architecture studies

(5 semesters) Hamburg State Opera 1999-2012/

costume department Member of GEDOK Schleswig-

Holstein since 2018 exhibitions

Group Exhibition Eckernförde Gallery “Within” 2021,

Lübeck SINKING, GEDOK Schleswig-Holstein,

Lübeck 2019 Museum Cloth and Technology,

Neumünster 2019 xpon art gallery, Hamburg 2019

“Look at a thousand pictures”, Kiel 2018 Gallery

Hilldegarden 2018 Bunker Hill Gallery, Hamburg

2017 Historical Stallion Hall, Traventhal 2014

Fundación Valentin de Madariaga-MP, Seville 2010

Museum of Applied Arts, Budapest 2010 Historical

Stallion Hall, Traventhal 2009 German Textile

Museum, Krefeld 2008 The Waterhall, Birmingham

Museums and Art Gallery 2008 Stadthalle

Osnabrueck 2006

MAURO FRAZÃO

Recife, Brazil

INSTAGRAM: @maurofrazao

Mauro Frazão,brasileiro, nascido e residente em

Pernambuco, é um artista intenso e sensível. Vê

na arte o caminho para a expressão do íntimo

internalizado pelo contexto sensorial e visual.

Amante da poética e sinestesia. Expressa sua

relação com o exterior através das cores, texturas

e formas com uma singularidade particular. Sua

arte contemporânea busca referências no seu

redor, mas também no seu íntimo, e é lá que

encontra a vivacidade criativa, que explora sua

liberdade artística e exprime seu âmago poético.

É um amante do “belo”, busca pulcritude em

tudo que o rodeia e transmuta o óbvio, deixando

visível o seu eu particular. É também na arte que

expõe suas memórias afetivas não deixando-as

efêmeras. Através do seu olhar democrático para

com o mundo e consigo mesmo, ele materializa

o desenvolvimento e aprimoramento de técnicas

próprias que compõem as várias camadas das suas

obras. Mauro Frazão é um artista autodidata que

teve seu inicio na arte têxtil de forma despretenciosa

em 2020. Em 2021 a obra Êxtase teve destaque

inicialmente na Europa e logo depois na Ásia e

América do Norte. Suas obras estão em 14 países

, possui representação na França e se tornou um

dos artistas referência na arte têxtil. Desenvolveu

um curso introdutório em uma relevante plataforma

mundial onde compartilha parte do seu processo

criativo. Teve citações em importantes veículos

comunicação como as revistas: Label (polonesa),

Casa e Jardim (brasileira) e sites especializados

como: Aatonau (Japão), Stir World / pad (Índia),

Museu têxtil (Brasil), Highsbobiety (Alemanha)

entre outros.

MÉLANIE VINCENSINI

Geneva, Switzerland

INSTAGRAM: @melaniavinc

Mélanie Vincensini is a textile artist working and

living in Switzerland, originally from Spain and Iran.

The body and the roots are connected themes that

often surface in her work. By using textiles, recycled

materials and fiber, she gracefully composes

her uniqueness and weaves a more composite

identity that also draws on the richness of her

imagination. She creates a personal body of work

that allows her to reinvent herself differently, “an

organic textile metamorphosis”.

A graduate from Parsons School of Design, with

a Bachelors in Fine Arts, for many years Mélanie

worked in Paris in the fashion industry as a designer

and illustrator, but there came a time when the

frenzy of producing and consuming was no longer

consistent with her values. Her environmental

awareness and her aspiration to embrace simplicity

have guided her towards other horizons, in synch

with a more responsible approach. She now works

also on artistic projects for the theater and dance.

MO KELMAN

Providence, Rhode Island, US

INSTAGRAM: @mo.kelman

WEBSITE: mokelman.com

Mo Kelman lives and works in Providence, Rhode

Island, U.S.A. A recipient of a National Endowment

for the Arts Fellowship, sculptor Mo Kelman has

exhibited her work in more than 75 exhibitions

across the United States, Europe, Japan and Korea.

Exhibitions include the Federal Reserve Art Gallery

in Boston; the Newport Art Museum, RI; Westbeth

Gallery, 1155 Avenue of the Americas Gallery and

Narthex Gallery in New York; the Cleveland Museum

of Art; the British Crafts Center; the International

Shibori Symposia in Nagoya, Japan and Hong Kong;

the International Textile Symposium in Kyoto; and

the Cheongiu International Craft Biennale and Heyri

Art Factory in South Korea.

Kelman is a professor emeritus of art at the

Community College of Rhode Island and has

taught classes and workshops at numerous venues

including Haystack Mountain School of Crafts, ME;

Penland, NC; Snow Farm, MA; Maiwa, Vancouver;

Zijdelings, Netherlands; Fibres West, Australia;

Massachusetts College of Art and Rhode Island

School of Design.

MÓNICA FIERRO


INSTAGRAM: @monicafierro_arte

Born in Córdoba. She loved ballet and arts since

early childhood. In 1980 moved to Buenos Aires to

continue ballet studies. From 1992 to 1999, lived

in the Netherlands and England and attended Arts

and Crafts workshops. In 2009, took part of Tana

Sachs’s workshops, then with O. Decastelli.

Since 2005, she has participated in national and

provincial halls. In 2009, she was awarded the First

Prize of the Sívori Museum Biennial Tapestry. In

2011, Third Prize at UADE, Second Prize of Avon

Foundation. 2013 First Prize Sacred Art Hall, Tandil.

2017 Mention at the Salón Nacional (Textile). Solo

shows at the Mumbat, Carlos Alonso, Molina Rosa

museums, group shows at Icana, Macu, Timoteo

Navarro and participation in several International

Fairs: ArteBA, Pinta Miami, London Art Fair, MAPA.

She shows her work in London (Jaggedart) and

in Argentina at OdA, CABA. Her works are in

Museums and private collections in Argentina, UK,

Uruguay and USA.

MURIEL DÉCAILLET

Geneva, Switzerland

INSTAGRAM: @muriel_decaillet

WEBSITE: murieldecaillet.ch

Muriel Décaillet was born in 1976 in Geneva,

Switzerland, where she lives and works. She studied

at the Geneva University of Art and Design (HEAD -

Geneva), where she obtained a bachelor’s degree in

fashion design, followed by a postgraduate diploma

in critical and curatorial studies. She has taken

part in group and solo exhibitions in Switzerland,

including at the International Red Cross and Red

Crescent Museum, the Villa Bernasconi, the Musée

Rath, the CACY and Galerie C. She has recently

exhibited in Paris (France) at the Musée de l’Homme

and the Galerie Sator, as well as abroad at the 798

Art District in Beijing (China). Muriel Décaillet has

received several awards from the City of Geneva.

Alongside her work as a visual artist, she also works

in the performing arts, creating set designs and

costumes for the theatre.

MURIEL MAIRE

Saint -Lunaire, France

INSTAGRAM: @murielmaireart

WEBSITE: murielmaire.art

Muriel Maire was born in Paris, France and is living

in Brittany since 20 years. She creates sculptural

objects that combine several techniques such as

weaving, basketwork, embroidery, crochet. Selftaught

artist, her creative approach is characterized

by the intuitive assembly of natural materials, plant

fibers, driftwood, seed pods, dried flowers as well as

recycled elements such as cardboard or fabric. As

an extension of her artistic work, Muriel also makes

photographs of her creations, and thus highlights

certain details of the realization.

NATSUKO HATTORI

Fukuoka, Japan

INSTAGRAM: @natsuko.hattori

WEBSITE: natsukohattori.net

Natsuko Hattori is an artist using fabric to create

sculptures. She collaborated with flower artist

twice for exhibits at The Metropolitan Museum of

Art. Also she had solo exhibition at the Wall Street

Journal building, 92 street Y ,First Street Gallery,

Chashima Gallery, Waterfall gallery, and other over

90 exhibitions. Also held in US cities other than

New York, Europe and Japan. She has received

many awards and grants including winning the Aoki

Shigeru Memorial Grand Prix Award thrice in Japan.

Since 2014, she has been holding a performance

titled “Dancer in MocoMoco”, and works on spatial

art by dance, music, video and photography.

In 2019, her works were exhibited in the “Reiwa”

bookkeeping hall of the Japanese Consulate

General in Japan. In 2020, Swatch Art Peace Hotel,

a sponsor of the watch company Swatch, will be

invited to Shanghai as a half-year contracted artist.

Currently working actively in an atelier in New York

City and Japan.

OLGA RADIONOVA

Kyiv, Ukraine

INSTAGRAM: @olga_nova_art

Graduated from the National Academy of Fine Arts

and Architecture in Kyiv. He is an active member

of the Union of Artists of Ukraine since 2010.

Participant of ParisDesignWeek, MilanArtFair, Art

Rotterdam week, KiyvDesignDays, Maion&Objet. He

has more than 30 personal and collective exhibitions

in Ukraine and Europe. Olga currently lives and

works in Ukraine. Olga Radionova creates interior

sculpture with such materials as wood, metal,

polymers, fabric. She invented and develops the

author’s technique of soft sculpture. The uniqueness

of the technique is that the author sews fabric

elements of different shapes and sizes, which are

filled with soft silicone. Then she forms a sculptural

object with these details, fixing them on a solid

surface. Thanks to this technique, various shapes

and textures are created.

OLGA TEKSHEVA

Rome, Italy

INSTAGRAM: @teksheva

WEBSITE: olgateksheva.com

Born in Moscow in a multiethnic family (1973), Olga

Teksheva makes her first textile installation at the

age of 5! Dreaming of becoming an artist since a

very early age, she first graduates at Moscow State

University as art historian, and then takes a Drawing

and Painting Course at Studio Liudmila Ermolaeva

(Moscow). In 2008 Olga moves to Rome (Italy) to

study Fashion and Costume Design at Accademia di

costume e di moda, and it is there that she develops

a strong interest for fabric manipulation, hand

embroidery and theatre effects. After a number of

fashion collaborations she holds her first solo show

“Once Upon a Time There Was a Fish Sitting on a

Tree” in 2017, with a large-scale fiber installation.

The second solo show “In Volo” is organized by

the Pavart Roma gallery in 2020. Teksheva is

selected as a Special Mention at the Art Rooms

Rome 2019 where she realizes a fiber installation

for Ford Italia. She wins the First Prize of the Trame

a Corte international textile art competition in 2021.

The same year she is selected to participate in

159

160

“Textile Art of Today” Triennial and also makes

her first project as a curator with an international

contemporary embroidery show “Surface and

Depth” (Rome Art Week, a project for the Society

of Embroidered Work). In 2022 she shows her 5-

meters high fiber installation “Hidden Treasures” at

the “Remanso” show at Ex Cartiera Latina in Rome.

One of the cocoons of the “Hidden Treasures”

installation is selected as finalist of the international

textile art competition “MINIARTEXTIL” (Como, Italy)

which starts in August 2023.

Teksheva’s art pieces are in the collection of the

MAAM Museum in Rome, as well as in private

collections in Russia, US, Germany, Italy and Saudi

Arabia.

PAULA CERONI

Santiago, Chile

INSTAGRAM: @p_ceroni

WEBSITE: paulaceroni.cl

Paula Ceroni is a Chilean textile artist and

photographer who explores themes of identity,

social phenomena and imaginary universes. She

studied in Santiago and California and learned from

famous artists.

She creates kinetic art with fabric layers that

produce optical illusions.

She has participated in many exhibitions in Chile

and abroad. Some of her individual shows are

Fracturado, Entre Cuerdas and Piano Vivace.

In addition, she has participated in several

collective exhibitions, among which stand out: “X

Salón Internacional de arte textil 25 años WTA

Chile-Uruguay” at the Bastión del Carmen Cultural

Center,Uruguay (2023), “Primario” at Galería Planta

Libre (2023), “25 artistas Chilenas-World Textile

Art” at Teatro Solis, Montevideo, Uruguay (2023), VII

Concurso de Artes Visuales, Galería Centro Cultural

de las Tradiciones, Lo Barnechea, Chile (2023),

“Bienal textil WTA” at the Pabellón Chile of the

Montecarmelo Cultural Center (2022),

“Territorio Compartido” at Lab CV Galería I, Chile

(2021)” La creación ante la adversidad: las marcas

de la historia” V Concurso de Artes Visuales

Vecinos, Lo Barnechea (2021). Contrasting Shapes,

museutextil.com (2020), “El Mundo Al Instante

I”, Galería Isabel Croxatto (2020), “Artefacto”,

Concurso Arte Joven (2019), “Premio Municipal Arte

Joven”, Posada del Corregidor (2019),

“Jóvenes Artistas”, Galería Artespacio, III y IV

Concurso Arte Joven, Galería Artespacio (2017 y

2018), “The Oakland Super 8 Film Project”, The

Great Wall of Oakland, CA, USA (2015), “ Beyond

the Corner of the Eye”, Diego Rivera Gallery,

SFAI,USA (2014).

She has been awarded 2nd place in the V Art

Contest of Lo Barnechea (2021), 3rd place in the

Artefacto Contest and 4th place in the Santiago

Municipal Young Art Award (2019). Her work belongs

to the collections of Maya Castro de Westcott, Arturo

López Pérez Foundation (FALP) and Teatro del

Lago, Frutillar.

RACHAEL WELLISCH

Brisbane, Australia

INSTAGRAM: @rachael_wellisch

WEBSITE: rachaelwellisch.com

Rachael Wellisch is an Australian artist using textile

waste and natural indigo dye to form sculptures,

paper pulp paintings and installations. Graduating

with a Bachelor of Fine Art (Honours) in 2016,

she has exhibited broadly, both nationally and

internationally, and has been selected for, and

awarded in both national and international art prizes

and grants. Wellisch is currently a post-confirmation

doctoral candidate at Queensland College of Art,

Griffith University.

RUBEN MARROQUIN

Brooklyn, New York, USA

INSTAGRAM: @marroquin_ruben

WEBSITE: marroquinruben.com

Ruben Marroquin, American born, Venezuelan/

Guatemalan) 1979, Visual artist, textile designer

and weaving instructor. Ruben studied for two years

at the Armando Reveron University Institute in

Caracas, Venezuela, specializing in painting under

professor Luis Lizardo. It was during his painting

studies at the Reveron University that Marroquin

found a strong connection with textiles.

Marroquin left Venezuela in the year 2000 to learn

more about his Guatemalan roots and traveled

throughout the country creating art from textiles

and yarns found in the local markets. Marroquin

settled in Mexico City for a period of three years,

where he supported his art through working in the

hospitality industry. Marroquin received a B.F.A.

in Textile and Surface Design from The Fashion

Institute of Technology in 2020.During his studies,

Marroquin attended a semester at the École

Nationale Supérieure de Création Industrielle

(ENSCI, les Ateliers) in Paris, concentrating on

weaving, through a scholarship from the Carla Bruni-

Sarkozy Foundation. Ruben’s work participated in

the Rijswijk’s Museum’s Textile Biennial 2015 and

has collaborated with the Metropolitan Museum of

Art in educational programs related to weaving and

the fiber arts. He recently completed a 20’ x 8’ mural

size artwork in three panels for the U.S. Consulate

in Hermosillo, Mexico as part of Art in Embassies

projects. Ruben lives and works in Brooklyn, NY

SABINE FELICIANO

Saint-Etienne, France

INSTAGRAM: @sabinefeliciano

WEBSITE: sabinefeliciano.com

She was born in 1965 in Paris, but she now lives

and works in Saint-Etienne, France. She was

always interested in textile, yet other opportunities

were presented to her. She studied business for

three years before going into an art and visual

communication school in Paris. She worked for two

years in a “studio de tendance” and then for fifteen

years as an artistic director for advertisement,

publishing and art books. She was originally trained

as a graphic designer; she now mixes her passion

with the enchantment of textile. As a child, she was

fascinated with “ouvrages de dames” – books that

compiled old catalogue pages, pictures of tools,

ribbons, threads, and laces, and all the things that

the embroiderers used. Her grandmother was a

“Première Main” – she worked as a seamstress

for Balenciaga in the 1930s, collecting precious

materials, blending diverse textile together

harmoniously. She skilfully worked on technical

models and unique pieces full of history. For her

part, she learned at a young age how to use needles

and started embroidering floral patterns on cushions.

She never stopped doing so. For more than a

decade, she has met incredible people who have

accompanied her on her textile journey and allowed

her to learn and discover new techniques by sharing

their different artistic worlds and skills.

SAPNA KARN

New Delhi, India

INSTAGRAM: @sapna_karn

Sapna Karn is an accomplished visual artist based

in Delhi, India, with a diverse range of expertise in

multiple artistic disciplines. She holds a Bachelor

of Fine Arts (BFA,2015) and a Master of Fine Arts

(MFA,2019) degree in Painting from the prestigious

College of Art,New Delhi.

Sapna’s journey as an artist has been fueled

by a profound passion for sustainability and

environmental consciousness, leading her

to create exceptional artworks using recyclable

materials. Since 2016,

Sapna has been actively involved in her

innovative practice of transforming waste fabrics

into mesmerizing artworks. Her creative vision and

commitment to making a positive impact on

society are evident in each piece she produces.

With an unwavering dedication to promoting

sustainability, she meticulously collects discarded

fabrics from local tailors, giving them new life

and purpose in her artwork.

Sapna Karn’s artistic creations resonate with a

celebration of feminine energy and the courage

to embrace oneself as is. Her paintings showcase

an exquisite fusion of waste fabrics, carefully woven

together to form canvases that exude confidence,

self-love, and body positivity.

These fabrics, adorned with intricate patterns of

flowers and leaves, breathe life into her artwork,

creating captivating visual experiences that touch

the hearts of viewers.

The heart of Sapna’s artistic approach revolves

around the female form, exploring the dynamic

relationship between fabric and body.

Her artworks serve as a powerful reminder that

every woman is beautiful and unique in her own

way, embodying a celebration of body positivity.

Each piece carries a resounding call to action,

urging individuals to embrace and appreciate their

bodies, regardless of societal norms or standards.

Throughout her career, Sapna Karn has participated

in numerous prestigious exhibitions and events,

showcasing her exceptional talent and artistic

vision. Notable highlights include her participation

in the Ravi Jain Annually Exhibition at Dhoomimal

Art Gallery, New Delhi, “Celebrating the Transit”

exhibition organized by Punjab Lalit Kala Academy,

Chandigarh, and the “Akhi” National Art Camp

organized by Kerala Lalitha Kala Academy.

Sapna’s artistic prowess and impactful work have

garnered attention from various media outlets. She

has been interviewed by “BBC” and “The Better

India,” where she shared her artistic journey and

commitment to sustainability. Additionally, her work

has been featured in international platforms such as

“Textile Curator” in the UK, “Museu Têxtil,”

and many others. In 2022, Sapna participated in the

VAMA exhibition, which showcased the

works of Delhi-based women artists at Shridharani

Gallery. Her artistic journey has also led her to

mentorship roles, as she conducted

the “Naimisha Summer Wall Art Workshop” at the

National Gallery of Modern Art. Sapna Karn’s artistry

continues to inspire and empower women to view

themselves as unique and beautiful works of art,

deserving of celebration and self-love.

With an unwavering commitment to sustainability

and a profound connection between fabrics

and the female form, Sapna’s creations inspire

viewers to embrace their bodies as canvases for

self-expression and appreciation.

SÉVERINE GALLARDO

Angoulême, France

INSTAGRAM: @severingallardo

WEBSITE: severinegallardo.tumblr.com

Séverine Gallardo is a textile artist whose work

mainly concerns the production of headdresses that

combine different textile techniques.

Her work has been the subject of articles in various

specialized magazines, and exhibitions in France

and abroad.

SILVIA TURBINER


INSTAGRAM: @silviaturbiner

WEBSITE: silviaturbiner.com/

Silvia Turbiner studied and graduated as an

architect, where she founds a first path to her artistic

expression. She works with natural materials,

papermaking and non-traditional weaving techniques

with a close connection to nature. Vulnerability is

its main attribute and she finds beauty linked to

lightness. The intrinsic duality between opposites

is a recurring theme throughout her work. For over

30 years Silvia has taught, lectured and exhibited

locally and internationally: U.S.A., The Netherlands

and recently Israel and Dubai. 2023: Solo Exhibition

in Las Artes Gallery, Buenos Aires. 2011: Joan Ward

Award, Sivori Museum and one of her Artist Books

belongs to the collection of the National Liberty

Museum, Philadelphia.

SÓNIA ANICETO

Brussels, Belgium

INSTAGRAM: @soniceto.art

WEBSITE: sonia-aniceto.net

Portuguese visual artist, lives and works in Brussels.

Honors Degree in Fine Arts – Painting and Tapestry

- Faculty of Fine Art of the University of Lisbon,

Portugal. Received a scholarship to participate in

the program of Socrates/Erasmus at the Academy of

Fine Arts of Brussels (2000). Moved to Brussels to

integrate residencies such as “Archive” in Cultural

Center DePianofabriek - Brussels in 2002. she kept

her studio and galleries in Lisbon. Frequented at

the same time the seminaries in post-graduation of

the academy of Fine Arts of Brussels. Received the

official aggregation as a teacher of Fine Arts in 2005.

Frequented the master in actual art of ULB, at the

interuniversity. Worked in the scenography ateliers

of “La Monnaie” the Royal Opera House of Brussels,

between 2000 and 2006. She teaches in art school

since 2006. On 2007 Sonia was nominated for

Prémios Talento , Prize organized by the Ministry of

Fireign Affairs of Portugal.

Her artistic career is developed to collaborations

with different galleries in Belgium, France, Portugal,

Germany, Holland, Great Britain and USA. Her work

integrates public and private collections in these

countries.

Participates regularly in international contemporary

art fairs: Art Karlsruhe - Modern and contemporary

art fair (Karlsruhe/Germany), Schöeber- Art Isotope;

KunstRai, contemporary art fair (Amsterdam) avec

Huub Hanen gallery; London Art Fair, Perve Gallery;

Contemporary Istanbul, Perve Gallery; Scope Basel,

Perve Gallery; Just Lx - Lisbon contemporary art fair,

Perve Gallery;Art Up - Contemporary art fair (Lillle/

France) Martine Ehmer Gallery, Melting Art gallery;

Art Gent - Contemporary art fair (Gent), Down to art;

C.A.R.- Contemporary Art Ruhr (Essen/ Germany)

Schöeber- Art Isotope; St’art - Contemporary art

fair (Strasbourg/France) Martine Ehmer Gallery;

SLICK- contemporary art fairs (Brussels and Paris)

Martine Ehmer Gallery; AAF Brussels, Martine

Ehmer Gallery and Melting Art gallery; AAFLondon,

Martine Ehmer Gallery

STAR TRAUTH

Miami, USA

INSTAGRAM: @startrauth

WEBSITE: wethree.net

Star Trauth is an award-winning artist and writer.

She received her degree in Fine Art(Mt St Joseph

University, Ohio, USA) and continues to study

related to her field. It did not please Trauth to

recreate the created. She states, “The purpose

of my art is to reconnect me to my experiential

roots and set them free in the work.” All material

is recycled so Trauth is not the first to touch it, it

passed through many hands before she gathers

it together as new media and constructs it into

her art. Trauth says, “I think this is why those who

gaze thoughtfully into the pieces comment they

want to touch or even taste the pieces, they are

reaching back to those who were there before. We

are sharing an experience, a history.” Her practice

seeks to attract the audience visually with a desire

for tactile engagement. She’s sought to create new

art mediums with environmentalism in mind, using

waste paper and plastic, and converting it to a flat

pliable textile. Star hand molds and flame sculpts

each piece, miniature original works in their own

right, then melds them as free-standing sculpture,

assemblage, or wall hanging. Though she has

created her own medium Trauth will use other forms

of traditional media to achieve her vision. Her work

is heavily inspired by music, experiences from her

adventurous life, and currently a fierce battle with

cancer. This has also led her to dabble in new

media while she regains her strength. Star has

been curated into over 100 exhibitions, including 22

museums in the last 8 years.

Selected solo exhibitions include ‘Art Deco

Weekend’ Life is Art, Miami, Florida(2015);

‘Sublimate: Totems, Tokens, and Lore’ Vargas

Gallery, Pembroke Pines, Florida(2018); ‘Star

Trauth: A Solo Show’ Worldwide Art Movement

Gallery, Kochi, India(2020),

Selected group exhibitions include’Stamp IV’ Conrad

Meier Musem, Argentina(2022), ‘Women Pulling at

the Threads of Social Discourse’ The CAMP Gallery,

Miami, Florida, USA(2022), ‘Beyond Borders’ Chang

Kil Hwan Museum, Gangneung, South Korea(2021);

‘Touch’ Woman Made Gallery, Chicago,

Illinois(2020); ‘Atomic Peace’ Haegeumgang Theme

Museum, Geoje, South Korea; ‘Artist Statement

4&5’ Czong Institute for Contemporary Art Museum

Gimpo, Korea(2019, 2020); ‘20th International

Competition Incheon Metropolitan City Art Exhibition’

National Arts Association Incheon Metropolitan City

Branch, Incheon, South Korea(2019).

Selected appointments and awards include

‘Best in Show’ ‘Aesthetics of Faces’ Chang Kil

Hwan Museum(2022); ‘International Ambassador

International Council of Museums’(2022); ‘Robert

Rauschenberg Grant’(2020); ‘MAS!1 Grant’ Miami

Art in Public Places(2020); ‘The 25th Korea Art

Exhibition’ Winner(2019).

Trauth has crafted two books; ‘One to Five’ Lulu

Press, ISBN 978-0359402670(2019); ‘Sublimate:

Tapestry and Lore’ Lulu Press, ISBN 978-

1387803897(2018) and has been included in many

prestigious publications including, ‘Dada Centennial:

Day of the Dead’ Cecil Touchon, ISBN 978-

1365877308, ‘Artist Statement 5’ CICA Press, ASIN

B08879JT5C(2020), and ‘Contrastes de Forma’

Rodrigo Franzão, ISBN 978-65-001-6078-9(2020).

VANESSA FREITAG

León, Guanajuato, Mexico

INSTAGRAM: @freitag_textileart

WEBSITE: freitagvanessa.com

Vanessa Freitag é formada em Artes Plásticas com

especialidade em escultura (2004); Licenciada em

Arte e Educação (2005); Especialista em Arte e

Visualidade (2006); Mestre em Educação (2008),

todos pela Universidade Federal de Santa Maria.

Obteve o Doutorado em Ciências Sociais com

especialidade em Antropologia Social por CIESAS-

Occidente (Guadalajara/México). Desde 2012 é

professora efetiva da Universidad de Guanajuato,

atuando no Departamento de Estudios Culturales.

Em 2016 iniciou um projeto de investigação artística

com a linguagem têxtil contemporânea, cujos temas

de interesses giram em torno às memórias de

infância sobre a paisagem natural (fauna e flora)

vividos no Brasil, em constante diálogo com a

paisagem observada/experienciada no México, país

em que reside. Participou de exposições coletivas

no México, Brasil, Chile, Porto Rico, Ucrânia e

Estados Unidos. Em 2021, recebeu o 1o lugar em

escultura no Salón de Arte Contemporáneo/lrapuato/

México; em 2019, a menção honorífica na FIBRA

- I Bienal de Arte Têxtil (Porto Alegre/Brasil). Em

2020, colaborou com o projeto MeioCura de Flotar

Programa (Ciudad de México/México). En 2021,

realizou uma residência artística en Residencia

Art/Project/Playa del Carmen/México. Participou

na Feira MACO/2021 com Galeria Art_Latinou;

na Feira SWAB-Barcelona, com Trámite Buró de

Coleccionista; e na Otra Feria de Arte (2020/2021).

VERÓNICA RYAN

Capilla del Señor, Argentina

INSTAGRAM: @vero.ryan

EDUCATION & EXPERIENCE

Social Psychologist - First School of Social

Psychology Pichón RiviereArt Workshops with

Virginia Rivera and Ana Uriarte, General Villegas,

Buenos Aires. Muchatela Textile Serigraphy

Workshop with Constanza Martinez Contemporary

Art Workshop with Rosa Skific Textile Art Seminary

with Daniel Giannone and Leo ChiachioTIERRA

Residence with Margarita García FaureArt

Clinic with Margarita García FaureArt Clinic with

Constanza MartinezTextile serigraphy teacher at

the “Arte en Barrios” program for the City of Buenos

Aires Culture Secretary in the Rodrigo Bueno

neighbourhood. Investigation and colaboration in

the lands of different textiles processes with artisan

weavers of Santiago del Estero and Catamarca.

EXPOSITIONS: 2018 “Dolmen”, La Casona de

los Olivera, curated by Emilia Demichelis - Bs As,

Argentina “Noches de fuego”, La flecha del Arte

workshop by Margarita García Faure - Bs As,

Argentina. 2019 “Tarea” at Pasaje 17, curated by

Chiachio and Giannone - Bs As, Argentina.”Espejo

de Tela”, curated by Constanza Martinez - Word

Textil Art, Madrid, España. “Territorios Emocionales”

at Camarones Arte, curated by Lola Silberman.

2020 “Performance de encierro”, video performance,

curated by Ariadna Pastorini “Flores en las grietas”,

La Europea, first award in the context “Ideas para

diseño de Murales”. La Europea and DARA 2021

“Como llegan las flores a las telas”, Visual Arts

Municipal Museum Sor Josefa Diaz y Clusellas,

Bienal Sur, curated by Constanza Martínez. 2022

“MuseuTextil.com” - Virtual Exposition. Galería

Artis Exposition with Carolina Gotusso - Córdoba,

Argentina.”Como llegan las flores a las telas?”,

Quinta Trabucco, Vicente López, Buenos Aires.

2023 “Hilo Invisible”, colaboration with Constanza

Martinez on investigation project. “Teleteca”,

Museo Nacional de la Historia del Traje, Bienal

Sur, proyecto curatorial de Constanza Martínez.

2023-Colaboración e investigación en documental

“Cómo llegan las flores a las telas”, idea y

realización: Constanza Martínez. https://youtu.be/

lNweBXu7M3U

161

artists index

The first two numbers following the artist’s name pertain to the illustrations of the works, the third number pertains to the artistic statement, and the last number indicates

the biographical notes.

ADELINE CONTRERAS 54, 55, 54, 153

AMELIA NIN 112, 113, 113, 153

ANNA CARMONA 94, 95, 94, 153

ARIADNA PASTORINI 114, 115, 114, 153

BARBARA BRYN KLARE 116, 117, 116, 153

BRUNA OCTAVIANO 28, 29, 28, 153

CAROLINA CARUBIN 12, 13, 12, 153

CAROLINA VAZ 88, 89, 88, 154

CARRY DOORN 86, 87, 86, 154

CATHY JACOBS 118, 119, 118, 154

CECILIA ACEVEDO CASTRO 44, 45, 45, 154

CHARLOTTE SCHMID-MAYBACH 120, 121, 120, 154

COURTNEY COX 122, 123, 122, 154

CRISTINA LISOT 30, 31, 30, 154

DENISE BLANCHARD 46, 47, 46, 155

ELLEN DYNEBRINK 98, 99, 98, 155

ERI IMAMURA 82, 83, 83, 155

FERNANDO SOARES 32, 33, 32, 155

FRANZISKA WARZOG 70, 71, 71, 155

GABRIEL PESSOTO 34, 35, 34, 155

GAËLLE BOSSER 68, 69, 68, 155

GEORGIA FAMBRIS 78, 79, 79, 156

GÖZDE JU 106, 107, 106, 156

GUACOLDA 56, 57, 56, 156

IPHENO 50, 51, 50, 156

IRINA LAAJA 52, 53, 53, 156

JASON KRIEGLER 124, 125, 124, 156

JULIA COUZENS 126, 127, 126, 156

JULIETTE LEMPEREUR 58, 59, 58, 157

KASIA TONS 24, 25, 25, 157

KATHERINE HUNT 128, 129, 128, 157

KERSTIN LINDSTRÖM 100, 101, 101, 157

KRISTINA PENHOET 130, 131, 130, 157

KRISTINE STATTIN 102, 103, 103, 157

LARA ZAPPA 80, 81, 80, 157

LAURA RAMIREZ GARCIA 14, 15, 14, 157

LIA PORTO 16, 17, 16, 157

LINDA FRIEDMAN SCHMIDT 132, 133, 132, 158

LINDA MÄNNEL 74, 75, 74, 158

LOUISE HEIGHES 108, 109, 108, 158

LUCIANA DE CARVALHO MONTEIRO 36, 37, 36, 158

MARIANA PORTO 38, 39, 39, 158

MARIE POURCHOT 60, 61, 60, 158

MARTINA GRUND 72, 73, 72, 158

MAURO FRAZÃO 40, 41, 40, 159

MÉLANIE VINCENSINI 96, 97, 96, 159

MO KELMAN 134, 135, 134, 159

MÓNICA FIERRO 18, 19, 18, 159

MURIEL DÉCAILLET 104, 105, 104, 159

MURIEL MAIRE 62, 63, 62, 159

NATSUKO HATTORI 84, 85, 85, 159

OLGA RADIONOVA 110, 111, 111, 159

OLGA TEKSHEVA 92, 93, 92, 159

PAULA CERONI 48, 49, 48, 160

RACHAEL WELLISCH 26, 27, 26, 160

RUBEN MARROQUIN 136, 137, 136, 160

SABINE FELICIANO 64, 65, 64, 160

SAPNA KARN 76, 77, 76, 160

SÉVERINE GALLARDO 66, 67, 67, 160

SILVIA TURBINER 20, 21, 20, 161

SÓNIA ANICETO 90, 91, 90, 161

STAR TRAUTH 138, 139, 138, 161

VANESSA FREITAG 42, 43, 42, 161

VERÓNICA RYAN 22, 23, 22, 161

163

credits

The images of the artworks featured in this book were directly provided by the artists themselves. Each artist granted authorization for the use of their work’s image through

a signed consent form, thereby preserving their Intellectual Property Rights (scientific, literary, or artistic). The number accompanying the text indicates the page number

corresponding to the text or illustration of the artist’s work.

ADELINE CONTRERAS 54, 55

AMELIA NIN 112, 113

“Big crunch” and “Inception” by María Rapela 112, 113

ANNA CARMONA 94, 95

ARIADNA PASTORINI 114, 115

BARBARA BRYN KLARE 116, 117

BRUNA OCTAVIANO 28, 29

CAROLINA CARUBIN 12, 13

“Survival Family Landscape” and “Pulsions” by German Duarte 12, 13

CAROLINA VAZ 88, 89

Text by Lisbon by Design 88

CARRY DOORN 86, 87

CATHY JACOBS 118, 119

CECILIA ACEVEDO CASTRO 44, 45

CHARLOTTE SCHMID-MAYBACH 120, 121

COURTNEY COX 122, 123

CRISTINA LISOT 30, 31

DENISE BLANCHARD 46, 47

“Interior garden” by Alvaro Mardones 46

“Habit” by Mauricio Zarricueta 47

ELLEN DYNEBRINK 98, 99

“Promises” by Sebastian Waldenby 98

ERI IMAMURA 82, 83

Text by Rémy Jarry 83

FERNANDO SOARES 32, 33

FRANZISKA WARZOG 70, 71

GABRIEL PESSOTO 34, 35

“Bathroon’s mirror selfie” by Marie Kappel 34

GAËLLE BOSSER 68, 69

GEORGIA FAMBRIS 78, 79

Text by Poka YIo 79

GÖZDE JU 106, 107

GUACOLDA 56, 57

IPHENO 50, 51

IRINA LAAJA 52, 53

JASON KRIEGLER 124, 125

JULIA COUZENS 126, 127

Text and Photos by Julia Couzens Studio 126, 127

JULIETTE LEMPEREUR 58, 59

KASIA TONS 24, 25

KATHERINE HUNT 128, 129

“Rectangle piece nº 1” and “Square piece nº 2” by Pete Monro 128, 129

KERSTIN LINDSTRÖM 100, 101

“Flow” by Frida Sjögren 100

KRISTINA PENHOET 130, 131

“(Dis)Connections” and “When we are they are us” by Pete Duvall 130, 131

KRISTINE STATTIN 102, 103

LARA ZAPPA 80, 81

LAURA RAMIREZ GARCIA 14, 15

LIA PORTO 16, 17

“Hybridizations 1” and “Hybridizations 2” by Ignacio Iasparra 16, 17

LINDA FRIEDMAN SCHMIDT 132, 133

LINDA MÄNNEL 74, 75

LOUISE HEIGHES 108, 109

LUCIANA DE CARVALHO MONTEIRO 36, 37

“The skin” by Higo Joseph 37

MARIANA PORTO 38, 39

Text by Ruy Luduvice 39

“OY Vibrante em vermelho” and “OY Vibrante em cinza” by Jailton Leal 38, 39

MARIE POURCHOT 60, 61

“On the handkerchief” and “Blood” by Alain Scherer 60, 61

MARTINA GRUND 72, 73

MAURO FRAZÃO 40, 41

MÉLANIE VINCENSINI 96, 97

“Mask 3” and “Mask 1” by Vincent Bourdon 96, 97

MO KELMAN 134, 135

MÓNICA FIERRO 18, 19

“Bichos” and “Título 30 de la Série Recortes” by Lucrecia Esteban 18, 19

MURIEL DÉCAILLET 104, 105

“Prêtresse” and “Les Éternel·le·s - L’Eve Africaine II” by ReproSolution 104,

105

MURIEL MAIRE 62, 63

NATSUKO HATTORI 84, 85

“Blossom” by Soongsup Shin (Videographer and Video Editor) and

Jaiseok Kang a.k.a Jason River (Director) 85

OLGA RADIONOVA 110, 111

OLGA TEKSHEVA 92, 93

PAULA CERONI 48, 49

RACHAEL WELLISCH 26, 27

RUBEN MARROQUIN 136, 137

Text by Patricia Velasco Barbieri 136

“Sonoran Majesty, Punta Chueca” and “Untittled” by Liz Squillace 136, 137

SABINE FELICIANO 64, 65

SAPNA KARN 76, 77

SÉVERINE GALLARDO 66, 67

SILVIA TURBINER 20, 21

“The Fragility of Existence”, “Big Bang” and “Covering the Void” by German

Duarte and Pablo Messil 20, 21

SÓNIA ANICETO 90, 91

“Teia” and “Un Monde Extensible” by Erwin Boosten 90, 91

STAR TRAUTH 138, 139

VANESSA FREITAG 42, 43

“Nildo Domesticado” by Terr Negrete 42

VERÓNICA RYAN 22, 23

165

bibliography

DEWEY, J. Arte como experiência. São Paulo: Martins Fontes, 2010.

MERLEAU-PONTY, M.A dúvida de Cézanne. In: MERLEAU-PONTY, Maurice. O olho e o espírito. São Paulo: Cosac Naify, 2013a. (Coleção Cosac Naif Portátil).

SARTRE, Jean-Paul. O ser e o nada: ensaio de ontologia fenomenologia. 3. ed. Petropolis: Vozes, 1997.

SCHOPENHUAER, A. O mundo como vontade e como representação. Trad., apres., notas e índices de Jair Barboza. São Paulo: Unesp, 2005.

167

Museu Têxtil

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Instagram: @museutextil

Format:

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Museu Têxtil

art@museutextil.com

www.museutextil.com

Instagram: @museutextil

Format:

Mohawk ProPhoto Pearl 140# (190 GSM) Semi-gloss FSC certifiable

Custom Size 8 x 10 in ( 20 x 25 cm)

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