GABRIEL PESSOTOSão Paulo, BrazilBATHROON’S MIRROR SELFIE, 2022Embroidery, tapestry on wood display66.9 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 therapid process of culture’s digitization.The same images circulated throughvarious media, transitioning fromanalog to digital-virtual formats.Concurrently, our relationship withdigital images and audiovisualinterfaces became a tool thatinfluenced our subjectivities. Whileintimate and domestic material cultureplayed a role in shaping memories,desires, and idealizations, the digitalimage and audiovisual interfaces actedas tools shaping our subjectivitiesas well. Inspired by this vast visualrepertoire encompassing intimate,amateur, and domestic experiences,I blend different materialities, rangingfrom video to textiles. Through thisfusion, I propose dialogues based onpatterns, codes, and programming,encompassing both image andbehavior. This research manifests invarious forms, including video works,installations, digital embroidery,tapestries, and objects. The creativeprocesses underlying my work involveediting, appropriation, collections,parodies, and displacements. I usetraditional handicraft patterns as astarting point for producing electronicworks, contemplating the presence ofdecorative images in contemporaryinterfaces. Similarly, disposableimages encountered during onlinebrowsing are reimagined as tapestrypieces, embracing traditional and slowpractices, while updating the patternsembroidered within this medium. Thistransition between media allows usto perceive not only the materiality ofthe images but also the pedagogicalaspect of visual production that occurswithin the intimate sphere. Often, thisproduction reinforces gender roles,normative idealizations, and culturalcharacteristics that have emergedfrom colonization processes. In mypractice, I engage in collecting, editing,weaving, and also contemplate therelationship between the body andthese images. I position the pieces inlocations where they can be viewedfrom everyday perspectives, alluding toan architecture of everyday life.34
THE QUILT THAT ALWAYS DELIGHTS, 2022Embroidery, tapestry and wood display31.4 x 57.4 x 70.8 in (80 x 146 x 180 cm)35
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BLOSSOM, 2014Artwork showcased in t
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BLOSSOM, 2014Artwork showcased in t
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MATER(IA) COMPOSITION #1, 2023Punch
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MAGMATIC STONES, 2023Cotton, linen
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The starting points of KerstinLinds
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INCEPTION, 2022Braiding and embroid
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MODERN BORO I, 2023Indigo dyed text
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L’HEURE BLEUE, 2022Sewn archival
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SERIES FINALE, 2022Hand embroidery1
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UNTITLED, 2023Hand embroidered, lin
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SQUARE PIECE Nº 2, 2022Cotton fibe
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UNTITLED, 2022Bamboo, natural yarns
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COMPLICATED DRAGON, 2023Hand and Fi
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The biographical information was co
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been a visiting artist at over 30 i
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MAURO FRAZÃORecife, BrazilINSTAGRA
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SILVIA TURBINERBuenos Aires, Argent
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The first two numbers following the
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The images of the artworks featured
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DEWEY, J. Arte como experiência. S
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Museu Têxtilart@museutextil.comwww