RUBEN MARROQUINBrooklyn, New York, USASONORAN MAJESTY, PUNTA CHUECA, 2022Mixed media8 x 20 ft (243.8 x 609.6 cm)Textiles and technical possibilitiesoffered in weaving are the foundation ofRuben Marroquin’s work. His art aimsto revisit, appropriate, and reinterpretcertain languages, traditions, and arthistorical movements, formalizing thispursuit through the act of weaving,an ancient craft of tribal societies.From this combination of interests,the artist develops a contemporaryproposal with resonant echoes,where the acts of weaving, spinning,braiding and interweaving surpass thecategory of the craft. Past, presentand future converge in his body ofwork, generating new inquiries aboutthe formal possibilities of materials tocreate sculptural pieces. Time layersoverlap, transversal, interwoven,and polysemic, and through theseconnections, an ancient practice isvalued and updated.Marroquin’s work is rooted in research,exploring the resizing, questioning, andreinvention of the possibilities offeredby textile materials and processes, aswell as reflecting on the opportunitiesfor contemporary creation providedby this tradition. In this way, the artistestablishes two closely interconnectedregisters bound by an inevitable filialconnection: on one hand, the materialand its ductile possibilities, and on theother hand, the creation of a body ofwork that links fiber art with abstract,constructivist, gestural, and organicpractices. In this operation, Marroquindoes not produce utilitarian objectswith symbolic resonances like tribalsocieties, but rather two-dimensionalsculptural works in which the act ofweaving loses its craft connotation,updating itself and establishing newformulas or drifts that engage in dialogwith contemporaneity.For the construction of this pieces,Marroquín employs assemblage,seeking to create volume to overcomethe flatness of the two-dimensionalformat. He attaches, sews, knots, oradds various structures such as splitbamboo poles, floats, lifebuoys, or anylightweight object found. From there,the artist employs the classical visualexpression alphabet: line, stroke,material, texture, form, color, space,movement and rhythm. The operationconsists of covering that volumetricstructure or skeleton by enveloping andlayering threads. He encases and lineswith fibers to create textile pieces ofa sculptural nature, where movementand organic elements gain ground. Theresults are three-dimensional, gestural,expressive, and lively tapestries inwhich the artist enlivens the supportby playing with the formal elements ofvisual composition.His artistic world gallops from thepurely abstract and constructivist tothe organic, expressive and vital.His trajectory is characterized byexperimentation and the intersection ofcurrents and languages, drawing fromelements and practices of visual artsas well as manual and craft arts. Theseare vigorous, powerful, evocativepieces with sensory, manual and tactileresonances that increasingly demandmedium and large scale supportscapable of containing their force andthe impetus of an unstoppable drive.136
UNTITLED, 2022Bamboo, natural yarns, found objects on linen andaluminum frame60 x 60 in (152.4 x 152.4 cm)137
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NaturalImpressionsTextile Art and M
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NaturalImpressionsTextile Art and M
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Originally founded in 2020 in São
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CURATOR’S STATEMENT 8ARTISTS & AR
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The exhibition “Natural Impressio
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PULSIONS, 2023Weaving with natural
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PRESENCIA PLENA, 2021Embroidery and
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HYBRIDIZATIONS 2, 2022Hand embroide
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TÍTULO 30 DE LA SÉRIE RECORTES, 2
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THE FRAGILITY OF EXISTENCE, 2021Bas
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LA TEOFILA, 2022Oil on canvas burye
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5 6SYMBIOCENE, 2022Blanket, handemb
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ENFOLDED LANDSCAPE 8, 2023Photograp
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MY LITTLE BUTTERFLY, 2022Loom57.4 x
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ESPECTRO, 2023Lasca de basalto, min
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IRRUPÇÃO 72, 2023Latex on wooden
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THE QUILT THAT ALWAYS DELIGHTS, 202
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The work of Mariana Porto (SãoPaul
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In her work, the artist explores th
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Through the fusion of kinesiology a
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INTERIOR GARDEN, 2023Hand sewing wi
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SUN WARNING, 2023Unraveling of fabr
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Irina Laaja is fascinated by thecom
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SHELL, 2023Cotton, ceramic, tarlata
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BLOOD, 2022Crochet, embroidery, cot
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BLOOD, 2022Crochet, embroidery, cot
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TRIPUDIUM MODEL, 2022Photo performa
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UNSINKABLE, 2022Cotton muslin, ribb
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Franziska Warzog is primarilyintere
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JELLYFISH, 2014Sequins on silk, eac
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YUCATAN II, 2023Ink and yarn on can
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UNVEILED, 2022Fabric55 x 32 in (139
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Georgia Fambris finds her emotional
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WOMAN, 2019Nail, fiber and wood47.2
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The artistic practice of Eri Imamur
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