Threads of Tomorrow

THREADS OF TOMORROW
THREADS OF TOMORROW
THREADS OF TOMORROW
THREADS OF TOMORROW
THREADS OF TOMORROW
Textile Art and Mixed Media 2013-2024
TEXTILE ART & MIXED MEDIA 2013 - 2024
Rodrigo Franzão
Rodrigo Franzão
Museu Têxtil
MUSEU TÊXTIL

THREADS OF TOMORROW
TEXTILE ART & MIXED MEDIA 2013 - 2024
Rodrigo Franzão
Museu Têxtil

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, 2024
Social Media:
INSTAGRAM: @museutextil
Website: museutextil.com
E-mail: art@museutextil.com
Book cover:
HERE LIES THE REMAINS OF THE TREASURES
OF THE REALM I DESTROYED, 2024 (Dtl.)
by Penny Di Roma, p. 125
This exhibition was organized with a virtual layout, viewing room, and 360º virtual tour, providing free admission
to the Museu Têxtil. The use of images to compose the virtual exhibition “Threads of Tomorrow” (April 1st,
2024 - May 30, 2024) and this book has been authorized by the respective artists for the Museu Têxtil through
signed consent form. No image from this book should be used or reproduced for commercial purposes without
the authorization of the Museu Têxtil.
The information accompanying the artists, such as biography, artistic statement, and description of artworks
(title, year, dimensions), has been provided and reviewed by the artists themselves to maintain the authenticity
and originality of their artistic research.
It is fundamental to emphasize that the Museu Têxtil does not assume a defined social or political stance and
does not make distinctions based on race or gender; the images and texts provided by the artists are considered
direct reflections of their own perspectives and individual responsibilities.
The book was edited for Museu Têxtil by Rodrigo Franzão.
ISBN: 978-65-99-84882-7
Printed by Blurb, Inc. in San Francisco, CA, USA.
PROUDLY MADE IN NEW ORLEANS, U.S.A.

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

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CURATOR’S STATEMENT 6
ARTISTS & ARTWORKS 8
A RENDEIRA BY SARA RATOLA 10
ADRIANA FERLA 12
AMELIA NIN 14
ANNA TSVELL 16
ANNIKA ANDERSSON 18
BARBARA ASH 20
BEATA PROCHOWSKA 22
BERENICE COURTIN 24
BIJOU ARTS 26
BROOKS HARRIS STEVENS 28
CATHERINE REINHART 30
CHARLOTTE SCHMID- MAYBACH 32
CLUCA 34
CRISTIAN VELASCO 36
DAN CHARBONNET 38
DANIELA VIGNOLI 40
DAWN ERTL 42
DENISE BLANCHARD 44
EILEEN BRAUN 46
ERIK BERGRIN 48
ESTEFANÍA TARUD KARL 50
EVA ALVOR 52
FOJE 54
FRANZISKA WARZOG 56
GIAN PADILLA SUAREZ 58
GUACOLDA 60
HELENA WADSLEY 62
HENRIQUE VAN PUTTEN 64
INGER ODGAARD 66
IRA RZ 68
ITAMAR YEHIEL 70
JAY LEE 72
JENNA MANZANO 74
JOEDY MARINS 76
KARINA WALTER 78
KATE V M SYLVESTER 80
KATHARINA GAHLERT 82
KATHARINA KRENKEL 84
KATHERINE DANIELS 86
KATHY LANDVOGT 88
KELLY LIMERICK 90
LEISA RICH 92
LENORE SOLMO 94
LINDA FRIEDMAN SCHMIDT 96
LUBA ZYGAREWICZ 98
LYNNE CHAPMAN 100
MAGALI TAMARA WILENSKY 102
MALLORY ZONDAG 104
MARCELA DE LA VEGA 106
MARÍA ORTEGA 108
MARIANNA MAGURUDUMIAN O’REILLY 110
MARIETA TONEVA 112
MARIKO NAGAO 114
MIRIAM MEDREZ 116
MONA RITH 118
NHA NGO 120
OCTA CLAIRE 122
PENNY DI ROMA 124
RAPHAEL DIAS 126
REGINA DURANTE JESTROW 128
RENATA CARNEIRO 130
SARA PEREIRA 132
SARAH HASKELL 134
SARAH VIGUER CEBRIÀ 136
SILVINA SORIA 138
SONJA CABALT 140
THE PHANTOMAT 142
TICHIT CHANTAL 144
VERONICA POCK 146
EXHIBITION 148
ARTISTS BIOGRAPHY 156
ARTISTS INDEX 166
CREDITS 168
BIBLIOGRAPHY 170

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The “Threads of Tomorrow” exhibition transcends the mere presentation of artworks; it is a
journey that leads us from the past towards the future. With the participation of 69 contemporary artists
from various parts of the world, this exhibition not only celebrates human creativity but also recognizes
the importance of manual labor throughout history. The 148 exhibited works bear witness to the human
capacity to transform natural fibers, simple materials, and textile ornaments into complex expressions
of ideas and emotions, honoring the artisanal tradition that has brought us to this point.
As visitors navigate through the exhibition, it becomes evident that the presence of these 69
artists from 29 different nationalities is not mere coincidence; it is an affirmation of the diversity and
cultural richness that permeates contemporary artistic creation. Originating from different backgrounds
and influences, these artists contribute not only to cultural and social formation but also offer observers
the opportunity to expand their awareness of how art allows us to evolve. Their works not only broaden
our aesthetic horizons but also remind us of the importance of recognizing and valuing the multiple
voices that compose the contemporary artistic landscape.
Drawing from the studies of existentialist philosophers, we learn that artistic creation is
an expression of human freedom and an attempt to give meaning to our existence in the world. In
the “Threads of Tomorrow” exhibition, each artwork is a testament to this search for meaning and
authenticity. Just as Sartre and his contemporaries argued, we ourselves shape our identity and
destiny through our choices and actions, and each work in this exhibition reflects this fundamental
truth.
The creative development of textile and mixed media artists featured in the exhibition offers
an intriguing glimpse into the future of art. By exploring new techniques, materials, and concepts,
these artists are paving the way for even bolder and more innovative artistic expression. Their works
challenge the boundaries between the traditional and the contemporary, the analog and the digital,
pointing towards a future where human creativity will continue to surprise and inspire.
Upon visiting the exhibition, spectators are invited to embark on a journey of discovery and
contemplation. Each artwork is an invitation to explore the depths of the human experience, reflect on
our own identity, and imagine the paths we can take towards a more promising future. By witnessing
the richness and diversity of contemporary artistic creation, spectators are enriched with a renewed
understanding of what it means to be human in this vast and complex cosmos.
Rodrigo Franzão
Curator
7

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A RENDEIRA BY SARA RATOLA
Lives in Portugal
Sara’s work is highly influenced by her
love for the land and the heritage that
surrounds her. Curiosity is one of her
great characteristics; she has always
shown an interest in ancient textile
manipulation techniques. Knowing
how they are done, why they are done
that way, what they represent, and
how they came about are some of her
constant questions. In this search for
answers, she manages to give them
new life without ever jeopardizing all
the heritage and knowledge that each
of the techniques represents.
Currently, the techniques she uses
most are Arraiolos Embroidery, Free
Embroidery, Latch Hook, and Crochet.
She either performs them separately
or combines them, giving them a new
narrative. Another characteristic of her
work is the representation of the beauty
of the natural world, the landscape, and
all the problems they currently face.
Climate issues are one of her biggest
concerns. Awakening awareness so
that everyone, in their micro-world, can
do better and leave a slightly better
world for future generations is one of
her goals.
Sara has three young daughters, and
educating them will always be her
greatest work. If through her work she
can, through beauty, make someone
believe that we still have time to create
a better world with more love, then
she will have achieved one of her
purposes.
10
Passagem
2021
30.3 x 13.7 in
(77 x 35 cm)

Revolta Da Flora
2023
56.2 x 22.4 x 1.9 in
(143 x 57 x 5 cm)
11

ADRIANA FERLA
Lives in Brazil
Adriana’s artistic expression is a
captivating journey, skillfully capturing
ephemeral moments through a
delicate interplay of gestures and bold
contrasts. Her keen observations,
translated into drawings and
impressions, unfold as vibrant
narratives depicting the essence of
diverse places and people.
With meticulous craftsmanship,
Adriana’s embroidery takes form
stitch by stitch, deliberately paced,
giving life to characters that resonate
with the individuality of each subject.
From intricately detailed, palm-sized
embroidered landscapes to expansive
textile panels, Adriana’s work serves as
a visual odyssey.
Each piece, a testament to her skill
and creativity, holds the power to
evoke memories. Whether inspired
by the landscapes she has visited or
the people she has encountered, her
art becomes a conduit for revealing
cultural experiences. The festive spirit
of events like the Bumba Meu Boi of
Maranhão, Brazil, comes alive in her
work. Viewers are transported into
the heart of vibrant celebrations in the
series of embroideries Bumba Meu Boi,
which has currently eight tiny artworks.
Adriana is expanding the series with at
least four more pieces.
Adriana’s art is not merely a visual
feast but a sensory journey, inviting
audiences to connect with the rich
tapestry of her experiences and
the myriad stories woven into each
meticulously crafted piece.
Boi Buriti
2022
4.21 x 4.21 x 0.27 in
(10.6 x 10.6 x 0.6 cm)
12

Cazumbá
2023
4.21 x 4.21 x 0.3 in
(10.6 x 10.6 x 0.7 cm)
13

AMELIA NIN
Lives in Germany
Amelia Nin’s work is the symbolic and intuitive expression of the longing for a
closer relationship with nature, a bridge between the real world and the intangible.
She creates textile abstractions with a poetic focus on details, reflections that
she traces on the fabric with needle and thread, embroidering the ungraspable.
Weaving and interweaving fabrics that she recycles but also transforms by dyeing,
painting, bleaching, or burning, she creates textures that explore the relationship
between the micro and the macro cosmos.
She is interested in working with textiles because they are charged with memory
and intimacy, they are part of her identity. She rescues the traces that time
leaves on textiles, without hiding them, but on the contrary, amplifying and
transcending them. They are the evidence of the unstoppable passage of time, of
our impermanence and transience. Lichens came to meet her and revealed their
magic. Not only for their aesthetic richness but also from a philosophical point of
view. In them, she sees mysteries that captivate her, such as the origin of things
and the evolution of life and our vulnerable existence in the universe.
At first glance, lichens seem like an insignificant speck on a surface. But if the
viewer is attentive and gets closer, he discovers a fascinating world of shapes and
colors. Shapes that make her think of an explosion of creative energy, of the origin
of life.
14
Instants of Becoming
2023
43.3 x 15.7 x 11.8 in
(110 x 40 x 30 cm)

Allegory of Origin
2023
23.6 x 23.6 in
(60 x 60 cm)
15

ANNA TSVELL
Lives in Serbia
Anna Tsvell is focusing on exploring
nature textures through her artworks.
Anna’s fiber artworks are always hand
embroidered on transparent fabric -
tulle.
Anna wants to show the importance
of seeing the invisible on physical and
mental levels both, the back side of
Anna’s works is as substantial as the
front side, both sides are making the
work complete and volumetric.
Santa Monica Spring Breeze
2024
17.3 x 9.4 in
(44 x 24 cm)
16

Solar Eclipse
2023
33 x 26 in
(83.8 x 66 cm)
17

ANNIKA ANDERSSON
Lives in Sweden
As a textile artist, Annika Andersson finds herself in the weaving tradition. In the
limitations of the loom, she finds security and challenges. Central to her working
method is the dyeing of textile materials and fibers. Her interest in how the threads
in the warp and weft meet in the fabric to form surfaces and texture is a constant
driving force.
Annika is inspired and feels tenderness for all kinds of surfaces with traces of
time and life, impermanence, and chaos that contrast with the need for control. In
recent years, Annika has focused on exploring three-dimensional form in textiles
by building up surfaces and structures that she manipulates in various ways by
chance as an assistant. During an artist-in-residence at the Icelandic Textile Center
in Blönduos in 2020, Annika began working with soft sculptures called landscapes.
Her inspiration very much comes from the sceneries that she experienced during
her stay.
The blackness in nature and the wrinkled mountains are impressions Annika takes
with her in the artistic work. These artworks are made in 3D weaving in hand-dyed
wool and silk. The process starts with dyeing the yarn in many different colors.
After that comes the weaving and shaping of the form. At the same time as Annika
fixes the shape, she colors over the work with black, and you can now see more or
less from the original colors.
Connecting Landscapes II
2022
67 x 12 x 8 in
(170.1 x 30.4 x 20.3 cm)
Connecting Landscapes
2022
51 x 51 x 6 in
(129,5 x 129,5 x 15,2 cm)
18

19

BARBARA ASH
Lives in England
Barbara explores ideas of power,
individuality, and freedom from
a feminist perspective; collaging
combinations of materials and
dynamics – mixing up 2D and 3D,
putting fabric sculpture and linocut print
elements together, bringing together
notions of hard and soft sculpture, and
juggling “serious” socio-political issues
with a degree of absurdity/humor, often
in an accessible “pleasant” pastelcolored
visual format. She enjoys
the challenge of blurring boundaries
by creatively using different textile
materials alongside more “traditional”
techniques, often introducing collaged
lace trim with carved forms and
hand-sewn hanging canvas sculptures
festooned with repeated lino designs
to produce unusual three-dimensional
relationships and mixed media
sculptural objects.
She states, “I need to make art that
talks about female experience; I’m
interested in themes of freedom,
power, and girlhood and make work
from an imagination-based, often
intimate, autobiographical approach,
linking with universal issues, playfully
using toys and dolls as slightly “dark”
devices to talk about social issues,
specifically from a feminist perspective.
I make hybrid prints/sculptural forms
by collaging combinations of materials
with unexpected dynamics.”
“Ash’s work relates to the atmosphere
of old fairy-tales and the kind of
children’s stories in which adults
rediscover child-like sharpness,
truthfulness, and innocence as well
as gravity. As such, her work can be
understood in any culture. The element
of naivety in Barbara’s aesthetic
belongs to toys, simple utilitarian
things or decorations and a dose of
kitsch.”
Marta Jakimowicz, Curator and critic,
Deccan Herald, Bangalore, India.
20
The Forest is Shrinking 2
2024
28 x 20 x 2.5 in
(71.1 x 50.8 x 6.3 cm)

Returning the Gaze
2023
14.5 x 8 x 2 in
(36.8 x 20.3 x 5 cm)
21

BEATA PROCHOWSKA
Lives in Germany
Textiles and textile materials are storytellers... their texture, their feel, their
structure make them ideal media for metaphor, for conveying thoughts and
feelings. Working with them has a special character and is inextricably linked to
the concept of time - time as a magnifying glass for the (own) past but also to be
able to see exactly what is - now. The needle as an instrument of cognition and the
thread as a model of memory, creating connections to the beyond, to the now.
There are recurring themes in her work: social and gender inequality, change/
transformation of values, the question of responsibility, our feelings in the turbulent
times we live in... One topic that she is dealing with more and more frequently is
the accessibility of art for people who cannot see or are visually impaired.
The cycle “Metamorphoses” is now emerging from this idea.
Here is a triptych in which ordered structures meet disordered structures (form
meets anti-form) and address our sense of touch. The experience of the change
of aggregate states of the material, the transformation, is palpable in a haptically
concrete form. This work can be touched.
22

Metamorphosis
2023
Left Artwork:
8.5 x 12.5 in
(21.5 x 31.7)
Center Artwork:
8.5 x 12.5 in
(21.5 x 21.5 cm)
Right Artwork:
8.5 x 12.5 in
(21.5 x 31.7)
23

BÉRÉNICE COURTIN
Lives in France
In her artistic journey, Bérénice Courtin is driven by a profound desire to unearth
the hidden narratives of history, to peel back the layers of time and reveal
stories long forgotten or overlooked. Through her work, she seeks to shine a
light on these hidden histories, weaving them into the fabric of our collective
consciousness. Central to her practice is a relentless interrogation of conventional
modes of communication.
In a world inundated with noise and distraction, she strives to disrupt the status
quo, to challenge the way we interact with and interpret information. Through her
art, she invites viewers to question the narratives they encounter, to engage in
dialogue and debate, and to embrace the complexities of human expression. At
the heart of her exploration lies the ever-evolving relationship between humanity
and technology.
In an age defined by rapid innovation and exponential growth, she is fascinated
by the ways in which our tools shape our understanding of the world around us.
Each piece she creates is a testament to the resilience of the human spirit, a
celebration of our capacity for adaptation and transformation. In a world fraught
with uncertainty and upheaval, she believes in the power of art to inspire hope
and provoke change. Through her work, she hopes to spark a conversation,
to challenge assumptions, and to inspire others to embrace the boundless
possibilities of creative expression.
Digital Jacquard
2023
1’54”
24

Webs Of Power 2
2023
1’59”
25

BIJOU ARTS
Lives in the USA
Sally Nicholson, an accomplished artist and creative visionary, is a master of
iconography, employing a unique language within her work that intricately weaves
together mythical, heroic, and historic symbols. With a profound appreciation for
beautiful fabrics, intense color, and luxurious textures, Nicholson infuses her icons
with a rich narrative, wherein humor and pathos dance harmoniously around each
subject.
Situated in the picturesque locale of Geyserville, Sally exercises her artistic
prowess in a studio where silk, brocade, and gilded textiles metamorphose into
the canvas for her creations. The meticulous process involves cutting images from
fabric, followed by expert satin stitching, resulting in a captivating synthesis of
texture and form.
Sally Nicholson’s artistic odyssey is a testament to a life lived at the intersection of
imagination and skill, where every icon becomes a portal to a captivating narrative,
inviting audiences into a world where the sacred and the profane coalesce in a
visually stunning and emotionally resonant dance.
Honey Bees
2023
45 x 38 in
(114.3 x 96.5 cm)
26

Eagle
2023
45 x 38 in
(114.3 x 96.5 cm)
27

BROOKS HARRIS STEVENS
Lives in the USA
Working as an interdisciplinary artist, Brooks escapes in the creation of work
that is deeply rooted in the construction and use of textiles. The understanding
and love of cloth is one that continually drives Brooks’s artistic interpretation
as her concepts evolve from mending textiles to the mending of land, the built
environment, and re-creating forms of textiles based on objects that are reflective
of her personal histories. These meditative and ritualistic acts allow Brooks to find
solace through expressive handwork creating new work highlighting issues of
cultural and political complexities.
Responding to and crafting the domestic and subverting the political allows for
a transformation of material and meaning achieved through stitching, weaving,
tufting, beading, as well as performance, photography, and video. Manual and
digital transformations express a distinct voice linked to personal experiences
and concepts that connect to the collective use, understanding, and appreciation
of how objects and materials serve significant roles through human experiences.
Taking non-traditional routes in her creative practice is the impetus in finding new
ways of making and pushing social boundaries while using the familiar.
The intersection of materials and techniques connects Brooks to the history of
textiles and an understanding of what a simple needle and thread can achieve.
These simple bits and pieces lead Brooks to find answers and determine new
questions in a rapidly changing world.
Mending: Gold Community, Action Shot
2018
20 x 24 x 1 in
(50.8 x 60.9 x 2.5 cm)
Mending: Gold Community
2018
20 x 24 x 1 in
(50.8 x 60.9 x 2.5 cm)
28

29

CATHERINE REINHART
Lives in the USA
She is an interdisciplinary artist who
makes fiber art, sculpture, and conducts
socially engaged projects with abandoned
textiles. These works center on the themes
of domestic labor, connection, and care.
Tending to others is built on consistent,
repetitive actions that provide comfort,
ease suffering, and connect us with our
fellow man. Mending and stitching by hand
parallel these tending actions. By using
them, she joins the emerging discourse
on the unseen contributions of women
and mothers to our social fabric and the
contemporary art world.
Through the reuse of found textiles and
ritualistic processes, she communicates
the transformative power of caregiving. As
an artist and mother, she is both archivist
and field hand, creating studies in the
accretion of domestic life and cataloging
its labors. She disassembles, reconfigures,
and alters abandoned textiles into flag
works. Stratums of fiber in her sculptures
reference sedimentary layers and the state
of her laundry pile. She maps the territory
of her home-place with the visual language
of topographic maps.
With these works, she joins the growing
ranks of a constellation of artist-mothers
giving voice to the maternal and domestic
experience. Recently, her socially engaged
projects rely on the communal actions
of mending together. With her work,
she contributes to relevant and timely
discussions reframing the value of care
and connection to our neighbors and
our possessions. She gives voice and
holds space for stories of repair, loss, and
kinship.
artifact: undies
2020
19 x 15.5 x 1 in
(48.2 x 39.3 x 2.5 cm)
artifact: leggings
2020
20 x 16 x 1 in
(50.8 x 40.6 x 2.5 cm)
30

31

CHARLOTTE SCHMID-MAYBACH
Lives in the USA
Using a multidisciplinary approach
combining photography, textile and
assemblage, Charlotte Schmid-
Maybach engages with landscape
both natural and urban. She sews on
her archival ink jet prints with a freemotion
sewing machine allowing her
to draw with thread. Sometimes she
incorporates additional layers of textile,
maps or found objects. The bright
metallic and cotton fibers she uses
are a transitional element in her work,
and the finished paper pieces feel like
fabric. Her intervention through sewing
blurs the line between what’s real in
the photograph and what’s beyond the
picture or imagined.
Themes of nature, myth, and fairy tales
often emerge, with a particular focus on
trees and forests. Her work is layered
and tactile and invites the viewer to
take a closer look. Her most recent
piece “Night Threads” begins with a
loose grid structure of aerial views
at night. She applies thick, layered,
sewn thread with loose hanging ends
inspired by the designer Guo Pei who
uses antique brocade in her Himalaya
dress series. Charlotte integrates
pieces of vintage lace set against the
dark background and electric orange
lights of her night landscape.
Her work is filled with contrasts: calm
and frenetic, quiet and loud, day and
night, real and unreal, inside/outside.
A visual dialogue arises between
these opposites and the perception of
harmony in the midst of chaos.
Night Threads
2024
34 x 39 in
(86.3 x 99 cm)
Big Forest
2020
62 x 50 in
(157.4 x 127 cm)
32

33

CLUCA
Lives in France
Heritage is a complex matter, both from an individual and collective historical
perspective. We move forward on the threads of territories that have been lived in,
built, conceived, and developed before us; we are reflected in this past as much
as it reflects on us. Through her work, CLUCA tries to capture the intimate, “her
memory,” caught up in the threads of collective memories and contemporary or
past histories, by recomposing/reconfiguring a “new” narrative.
Tuffatore che non si tuffa
(The diver who does not dive)
2022
74 x 59 x 157 in
(187.9 x 149.8 x 398.7 cm)
Navigating between science (concepts), tangible material (mediums), and
immaterial (memory) allows her to develop a work whose boundaries are porous,
in which each component blends into the other just like the flashbacks forming our
memory traces. Early on, thread, as an extension of drawn and written pencil lines,
imposed itself pictorially and materially onto paper and canvas. During the last
three years, with the discovery of manual and mechanical tufting, she has been
exploring this medium further through images/commitments inspired by the street,
bringing social changes, from feminist resistance, through Estrucains’ history, and
how it reflects on us.
Historically, textile art has been a patient, ancestral art form, destined by its
very nature to link, to establish relations, to propose radical change. Intrinsically
connected to its roots, its interlaced threads, its inner essence, and its capacity
to destabilize us by revealing a new perspective, it has often engendered
technological changes and different ways of seeing.
Geography of my matrimonial heritage
2020-21
27 x 47 in
(68.5 x 119.3 cm)
34

35

CRISTIAN VELASCO
Lives in Chile
His work focuses on the individual and
social space, exploring through the
domestic, the landscape, and objects,
conceptual and aesthetic problems
associated with the body, memory, the
concepts of habitability, territory, and
time. Interested in work processes
and the intersection between industrial
and artisanal work, his proposal
moves between graphics and textiles,
video, performance, relational art,
and installation. Textile is used from
the material to the conceptual, under
the idea of building human ties and
dialogues in constant evolution.
The textile is seen as a text capable
of constructing and interpreting
various realities in the social fabric.
The focus of his work is on the human
being and his way of relating to the
world in the era of consumption,
hyper-connectivity, and the disasters
produced by the conflicts of capitalism.
His work addresses political and social
aspects, from sensitive poetics capable
of generating reflections on the
contemporary individual. He rethinks
the limit between everyday objects
and their significant possibilities,
addressing the practice of embroidery
as a philosophical tool that brings us
closer to the everyday meaning of life
and communities.
Velasco is interested in relational
art projects where exchanges and
dialogues are established with our
meaning of life in the society of fatigue
and hyper-productivity. His work
explores aspects of anthropology,
the dialectics between the useful and
the useless, as well as bipolarity and
opposites, as enclaves to function in
the world of competition, indifference,
and heartbreak.
36
Pais Soñado
2013
157.4 x 55.1 in
(400 x 140 cm)

Las Cuatro Caras de la Dignidad
2019
1’42”
37

DAN CHARBONNET
Lives in the USA
This most recent iteration of woven
paintings are somewhat rigid in their
arbitrary rules. The taut strips of
canvas, the hard edges of acrylic
paint, the precise weave pattern. To
watch him work is like watching an
architect at the drafting table. But if
the composition of the canvas seems
stiff, it is balanced with bold, carefully
orchestrated, and often playful colors.
Just as scent or taste may transport us
to a moment in time from our past, so
too does each color palette in Dan’s
paintings.
The warmth of something familiar
might be held together by the strength
of tradition, rules, and repetition. To
experience life colorfully is a choice.
His work represents an ideal balance
between the network of community and
the autonomy offered by isolation in the
individual nature of a stripe within its
place in a grid. The individual inspired
strips feel playfully antagonistic to the
more austere interlaced field.
The compositions, though grounded
in the rudiments of abstraction, have
a familiarity with figurative space
as if a familiar scene can emerge
at any moment from the pixelated
surface. The surface of his painting
constructions is initially activated by
destroying it through shredding the
canvas into strips as if he is shredding
the expectations lurking in the history
of the medium. It then gets rebuilt
through a harmonious weave of colors
into a new structure that never forgets
its origin as weaved fabric.
Skyscapers are Winking
2023
56 x 56 x 3 in
(142.2 x 142.2 x 7.6 cm)
38

Minds Swim in Ecstacy
2019
56 x 56 x 3 in
(142.2 x 142.2 x 7.6 cm)
39

DANIELA VIGNOLI
Lives in Brazil
Her work feeds on human beings; it
is an investigation into racial, cultural,
and social differences. A reflection on
this internal strength that each person
carries. Her embroidery aims to cross
the boundaries of fiction, in which the
narrative is limited by the imagination
and its representation in art. Here the
poetic displacement in the form of
embroidery comes with the strength
of thought, a desire to transform
the places she has been through
and that, for some reason, she has
photographed.
A language that moves from the real
to the fictional and from the fictional
to another real. A way of interpreting
a concrete experience, of a clear
political failure of human vulnerability,
offering tools of multiple meanings in
an attempt to express a better world.
Embroidering, sewing, suturing,
repairing has been like the passage
of time, like drawing slowly with her
camera, a magical, imaginary process
that she believes exerts a materializing
action through continuous thought.
Reviewing the same scene through
the heart.
This moment requires a specific state
of mind, of total involvement. The result
echoes like an internal dialogue, like a
prayer. She fully believes in the power
of thought and intention as a form of
real transformation. Her work is the
combination of all of this.
Happiness
2022
24 x 16 x 2 in
(60.9 x 40.6 x 5 cm)
40
Mandala
2023
24 x 16 x 2 in
(60.9 x 40.6 x 5 cm)

41

DAWN ERTL
Lives in the USA
She is an artist who makes work exploring environmental issues connected to
human behaviors using fiber, public engagement, research, and data-driven
algorithms. She uses weaving, knitting, and joining techniques to establish
foundational environments that are added onto by building up narratives related to
human activity. Her work demonstrates the link to researched information through
titles and project statements. Additionally, titles often reference intimate emotional
transfers one might exchange while involved in a co-dependent relationship.
She employs color, hand-dyed yarn, and painting to set the tone of the subject
matter or location representation. She relies on materials with minimized
environmental impacts, like hemp and Tencel, while sometimes incorporating
otherwise throw-away items like single-use plastics. She utilizes compositional
methods that challenge the viewer to investigate further and to reflect inwardly.
She integrates varied textures, material placement, and spacing rhythms to guide
perspectives.
For weavings, in particular, she uses open and compacted material spacing to
invite conversation and to provide obstacles. Both methods invite compromise
and consideration of the landscape and subject. She also subverts traditional
methodologies to challenge learned generational behaviors. Examples can be
seen where fringe is added to weaving that wouldn’t usually have it in a particular
area or at all, when paint is added to already dyed fiber, and when yarn is used in
open spaces to illustrate the basics of the underlined structure.
Gulf of Mexico 2050
2023
16 x 23 in
(40.6 x 58.4 cm)
42

My Value, Your Value, Value (their value)
2019
38.5 x 44 in
(97.7 x 111.7 cm)
43

DENISE BLANCHARD
Lives in Chile
Denise Blanchard’s artistic statement reflects a profound commitment to
sustainability and creative transformation. Working with recycled materials such
as discarded fabrics, used tea bags, and abandoned vintage books, she respects
the essence of each material, exploring their formal possibilities through sewing
and textile techniques. The manual and artisanal skills employed in her process
elevate these old materials, originally destined for waste, into powerful artistic
manifestations.
Blanchard’s focus on finding beauty in everyday life is evident in her ability to
turn seemingly ordinary items into symbols of creativity and expression. In her
exhibition, unused books are ingeniously repurposed into modules conveying
a new message, intertwining delicacy and determination. The rescued pages,
with their graphics, become a narrative canvas where thread and letters unite as
essential elements. Blanchard’s work introduces a semiotic interpretation, granting
autonomy to each page and transforming them into graphic sculptures. The term
“grapheme” takes on new meaning in her artistic expression, breaking down
linguistic elements into the visual realm.
Maria Alcalde Montt, MA in Art Business, acknowledges the essential imprint of
reused materials in Blanchard’s work, recognizing the profound intention and
creativity embedded in her transformation of everyday items into meaningful and
visually striking artworks. She said.
Jet Gevecht met de Mammon
2023
31.5 x 35.4 in
(80 x 89.9 cm)
44

Encerado y Clarion
2023
31.5 in x 35.4 in
(80 x 89.9 cm)
45

EILEEN BRAUN
Lives in the USA
Ms. Braun’s sculptures build on her appreciation of historic materials and
techniques formerly considered women’s work of weaving and sewing. She has
embraced these inherent techniques, bringing them forward and pairing them
with modern fibers, coatings, and discards. The natural rattan reed historically
used for basketmaking she employs in her large open sculptures are cloaked in
construction-grade rubber, giving them a bit of modern visual mystery. The forms
hint at their relationship with the human form.
With her tapestries, she has combined the tasks of sewing and knitting. She
utilized worthless factory discard (dressmakers’ pattern tissue) and knit the strands
of tissue tool-free (using only her fingers). Close observation reveals the inked
pattern and service instructions. She has created folds by draping them then
added a flourish of gold embellishment to bring visual movement and a twinkle
emanating from the surface.
Wild Terrain
2023
32 x 55 x 13 in
(81.2 x 139.7 x 33 cm)
46

Freedom
2023
36 x 25 x 18 in
(91.4 x 63.5 x 45.7 cm)
47

ERIK BERGRIN
Lives in the USA
At some point in his life, Erik’s spiritual
practice became so strong it collided
with his art practice. The basis of his
spiritual studies is to examine his mind
using different meditation techniques
and discover all the negative states he
wants to change. By bringing up all the
negative things in himself and knowing
how to confront them, he is face to
face with his own demons. His work
is his way of bringing out his demons.
Turning these states of mind into
physical objects in order to confront
and change them. It is the alchemy of
turning these negative states buried in
his subconscious into his own creative
power and happiness.
Coming from a background in costume
design and building, Erik uses the
materials and processes used in
clothing construction and fiber art to
investigate the body sculpturally. Using
fiber in its relation to tradition, and
techniques such as weaving, coiling,
sewing, felting, and embroidery, the
materials become cultural symbols
about his personal myth. Handling
these visceral materials, the work
relates to the possibility of housing a
person without giving that particular
individual an identity. It is a reflection
of getting extremely familiar with one’s
identity one’s entire life, only to realize
the inherent self does not exist.
When a viewer is confronted with the
work, they can be awakened to all of
these possibilities and the work then
becomes a catalyst for change within
themselves.
48
Dissolution 8 Emptiness
2021
72 x 20 x 20 in
(182.8 X 50.8 X 50.8 cm)

Begin
2018
84 x 30 x 30 in
(182.8 X 76.2 X 76.2 cm)
49

ESTEFANÍA TARUD KARL
Lives in Chile
Embroidering has become not only
a suitable technique for Estefanía’s
artistic production but also a new
part of her routine. Through her work,
she seeks to challenge traditional
activities culturally assigned to a
feminine role, shifting them from their
utilitarian dimension to a symbolic one.
In the same way, she has explored
the inclusive dimension of these
techniques, developing diverse works
that can be appreciated not only by
sight but also by touch.
With the black gabardine, she uses
cotton threads to imitate the rays of
light that rescue the volume of the
images. She has observed hundreds
of situations, mainly at night, where
light is the protagonist. Turning a light
on and off makes images appear and
disappear. The baths of light on things
make the images become completely
different from their shape in regular
daylight, as they make the shadow
become part of the image.
Nowadays, Estefanía is incorporating
the representation of light that
surrounds everyday environments
into the domesticity of her work,
making it a fundamental element for
her embroideries. She has observed
the various ways in which light
accompanies us, and she has realized
that she can tell a story with dim light
in twilight. It is like painting with light
and rescuing the image from the
background.
Silence
2022
43 x 43 in
(110 x 110 cm)
50
Flashlight
2022
39 x 28 x 1 in
(100 x 70 cm)

51

EVA ALVOR
Lives in Ukraine
In her works, Eva Alvor focuses
primarily on inner emotional
experiences. She asks questions about
the value of life, the necessity of the
destruction of the physical body, and
the inevitability of death.
She creates highly detailed and tactile
works of art, using materials such as
textiles, various textures, and hand
embroidery. In these, embroidered
lines resemble graphics, while different
pieces of fabric create the effect of
painting.
The artist often refers to images such
as trees, birds, and anatomical details
of the body. From combinations of
these elements, she creates her
fantastical embroidered creatures. In
her work, she searches for that elusive
line between the beautiful, the sensual,
and the alienatingly scary. It’s such a
fine line. Finding that moment when
the work is finished. That moment
when every unnecessary movement no
longer makes any sense.
52
Creature 1
2023
43 x 35 in
(109.2 x 88.9 cm)
Beholder
2023
43 x 36 in
(116.8 x 91.4 cm)

53

FOJE
Lives in Iran
Designing clothes in Iran is a
challenging task due to the suppressive
rule and set of laws that limit freedom
of expression. To follow her dreams
and expand her perspective on the
arts and crafts world, Fooziyeh needs
to express herself through her arts.
Unfortunately, due to the restrictions
imposed by the dictator government,
she can’t make it in Iran. She has to
take her chance on the international
scene.
Clothing is a sublime artistic practice
for Foje, who believes that it is not just
a tool serving human beings but also
a companion that befriends one in
different climates and environments.
Foje’s idea of designing clothes has
gradually transformed from working
on a utility to making an expressive
means of transferring meaning from
the inner world to a loyal companion. In
a context where women are expected
to mute their sensory feelings and
communication through their skin,
Foje seeks a creative challenge:
establishing and developing a
relationship with the outer layers —skin
and clothing while transcending the
conventional definitions of clothing,
fashion, garment, fabric, and sewing.
She has a perspective of a
collaborative tomorrow and she
believes that this tomorrow can happen
only if everyone can define their
individuality through their character
expressions. She believes that looking
inside and nourishing creativity
from there is the key to individual
expression, and that can happen only
if people trust their intuition and talents
and stop looking at each other as
competitors.
54
Hengum Island
2023
17.7 x 37.7 x 18.1 in
(45 x 96 x 46 cm)

Dining Mountain
2021-22
17.7 x 36.2 x 18.1 in
(45 x 92 x 46 cm)
55

FRANZISKA WARZOG
Lives in Germany
Franziska Warzog playfully creates
organic and erotic sculptures, mainly
from used materials, by placing
emphasis on a geometric structure.
Her sculptures are reminiscent of cult
objects but are open in their meaning.
They have a tangible and haptic effect
that invites you to touch them.
Franziska Warzog was fascinated
by textile materials from a very early
age because they were colorful and
warm, soft or festive, shiny or hairy.
As a small child, she tried by using
needle and thread to make something
that reminded her of dolls or plush
toys, which seemed almost alive to
her early childhood perception. This
more sensual experience was both a
contrast and complement to the tribal
art that surrounded her in her parents’
home.
The creative use of textile materials
between the experience of one’s
perception and the demanding
dominance of African and other masks
meant a search for oneself. This
was the first and probably deepest
inspiration for the artist to be creative
with textile materials. Franziska
Warzog is also inspired by the
observation of old paintings, currently
those of Hieronymus Bosch and Peter
Brueghel, father and son, because their
paintings suddenly seem to be very
realistic again. These early painters
have depicted everything human so
accurately and imaginatively, a density
of representation that is exemplary.
Cluster
2023
32.3 x 18.1 x 9.8 in
(82 X 45.9 X 24.8 cm)
56

Fell-Falter
2022
23.6 x 22.8 x 11 in
(59.9 X 57.9 X 27.9 cm)
57

GIAN PADILLA SUAREZ
Lives in Spain
This series IMPROVISATIONS had a process that was very creative and long at
the same time. I was making a sample of a ligament, its weaving was complex
and playing with different wefts and colors I realized that it had many possibilities.
So I started with an idea to make a wall hanging, without any sketches nor any
previous ideas just see what would emerge from there on. It would be absolutely
improvised, even the use of colors wasn’t thought of. When I started there were
only rectangular shapes and through working on them rhombuses and more
shapes were emerging.
The fiber used in this whole series is linen, I liked the ecru and the shades of
green, red and terracotta and to hold them altogether, black. The use of neutral
colors was at the beginning, colors slowly were being introduced. There came out
8 wallhanging in the series.
One little detail, would it be better if they would be all together as one piece in the
photograph. Seeing them individually I miss the complexity in which they were
birthed. They are from one single matrix. Just a thought, thank you for everything,
have a nice day.
Improvisaciones
2021
98.4 x 27.6 in
(230 X 70 cm)
58
Improvisaciones
2021
90.6 x 27.6 in
(250 X 70 cm)

59

GUACOLDA
Lives in France
Each work by Guacolda creates
strange pairings between drawing
(and sometimes writing) and
matter. The textile proposes shifts
and penetrations, offering augural
discordances to another vision of the
world. The feminine is reclaimed by
the creator, while the depth of the
subject matter does not eliminate a
certain lightness of form. The play
of matter is the source of a gap but
increases the presence of certain lively
silhouettes leaning against the silence.
A breath always exists regardless of
the technique chosen by the creator.
From textile to drawing, the artist reenchants
the world, freeing it from its
masculine glaciation, according to an
eroticism where sensitivity recalls the
first emotions.
The space is mental but not only. The
artist becomes a poetess in a place
where interior and exterior become a
unique place, a passage where time
is no longer the guardian. Most often,
Guacolda suggests freshness and joy,
but also gravity and depth. Suggestion
remains the key word of work attentive
to voluptuousness and a paradoxical
precision that is not necessarily
grasped at first glance. Offering and
addressing, the image remains in an
essential state through matter. The
creator brings it back to the forefront to
suggest what nourishes the being from
its earliest ages and what makes the
woman the primitive of the future.
And if the image becomes a memory,
it is not that of the past but of an
unceasing future. - Jean-Paul Gavard-
Perret
Autoportrait 1
2022
40 x 32 in
(101.6 x 81.2 cm)
Autoportrait
2022
30 x 38 in
(74 x 94 cm)
60

61

HELENA WADSLEY
Lives in Canada
Responding to the body as a site
of feelings is Helena Wadsley’s
consistent starting point. Slow,
repetitive processes such as weaving,
knitting, and embroidery give space for
contemplation, bridging any separation
between mind and body. The body’s
multifarious positioning as political
and social loci as it travels across
space and time is the primary site of
research—how have our bodies been
acted upon politically, and how do we
navigate the unspoken language of our
bodies’ reactions.
Embracing the skills typically passed
down through generations prompts
a reconstruction of the definitions of
inheritance and identity. Understanding
ourselves, where we came from, and
where we are now is fundamental to
having agency—within oneself and
in the wider world of inequalities.
Much of Wadsley’s work involves an
examination of gender and identity,
while she is interested in understanding
experiences that cannot find adequate
expression through language. This
slippage can find a framework in
affect theory, which acknowledges the
possibility of knowledge through the
body.
She tailors the materials and
techniques to the project rather
than repeating techniques, forms, or
aesthetics with which she is familiar.
This means that she is constantly
learning new approaches, often
pushing the limits of a material’s
capabilities with each work.
62
Glacial Scrape
2023
96 x 108.1 x 27.9 in
(244 X 275 X 71 cm)

Abisko Shadows
2023
47.2 x 39.3 in
(120 x 100 cm)
63

HENRIQUE VAN PUTTEN
Lives in The Netherlands
Henrique van Putten makes mixed
media sculptures, always with textile
as a basis, tapestries and drawings
(she likes to draw and consciously
starts with this to develop artworks).
Characteristic of her work is its
narrative and associative character,
and its composition of figurative,
colorful visual elements. Animal figures
are central to this, and like modernday
fable animals, they tell stories
about human emotions, behavior, and
the contradictions we experience in
the world and within ourselves, and
how we deal with them as humans.
Her works express experiences
about holding on and letting go, fear
and surrender, certainty and doubt,
dissatisfaction and harmony.
Her animals and fantasy creations
express these human feelings and
give the sometimes difficult reality
something endearing and bearable.
Van Putten derives her inner inspiration
from how she, as a human being,
should relate to God as the source of
hope, love, and life.
Her attempts to be in a relationship
with God highlight human fallibility,
“La condition humaine,” taking center
stage. Man is a finite being and is
defined by his or her shortcomings.
The different works portray the various
aspects of this fallibility: fear of others,
the impossibility of being together,
death, loneliness, and the subsequent
impotence. This results in ambivalence:
a simultaneous hope and inevitable
failure.
64
Let’s give them what they want
2024
14 x 9.5 x 5.5 in
(35.5 X 24.1 X 13.9 cm)
How lvong
2023
15.5 x 15.5 x 15.5 in
(39.3 x 39.3 x 39.3 cm)

65

INGER ODGAARD
Lives in Denmark
Inger is a sculptor, and her medium is textile. Her sculptures are hand-knitted
using various textile materials, knitted forms where the yarn and stitches create a
transparency of threads and spaces. The knitted skeleton is transformed through
the addition of different materials and the addition of new layers. The final shape
of the sculpture is formed in the interaction between the sculpture and the baths
of materials it is dipped in. These baths transform the sculpture from a fragile and
predictable-looking knit to a robust and abstract figure.
The work is a long dialogue with each sculpture, a long process where Inger
works on the sculpture’s form. Each time a new material is added, the sculpture’s
appearance changes, and it alters the work’s form and structure. The transparency
of the sculpture changes, some holes in the knit are closed by the material, and
others remain open. The transformation that takes place captivates her. The
change from one thing to another. From one place to another. When some holes
remain open and others are closed, it alters the sculpture’s form and the shadow
it creates.
The space within the sculpture changes, and the view into the sculpture becomes
different. All her works are spatial and transparent sculptures, consisting of holes,
spaces, and in-betweens that allow the viewer to peer into and through her
sculptures.
66
New Skin #7
2022
81 x 21 x 14 in
(205.7 x 53.3 x 35.5 cm)
New Skin #16
2022
90 x 51 x 79 in
(228.6 x 129.5 x 200.6 cm)

67

IRA RZ
Lives in Bulgaria
Calm Before the Storm - Soft Sculpture
December 2023
This tender textile sculpture is meticulously crafted through the interweaving of
crocheted elements of varied sizes and textures. The resulting object becomes a
tangible embodiment of the emotional undercurrents associated with a sense of
impending uncertainty, encapsulating the delicate balance between anticipation
and anxiety.
This artwork delves into the complexities of future uncertainties, offering a
manifestation of the nervous energy that arises when facing the unknown. It
serves as a contemplative exploration of the intricate interplay between the unease
of what lies ahead and the inherent privilege of having the time to engage in
leisurely creative pursuits.
By highlighting the fragility of time and acknowledging the privilege embedded
in the act of crafting art amid the intricacies of our world, the sculpture prompts
viewers to reflect on the preciousness of each passing moment. It encourages
a mindful appreciation of the present, urging spectators to cherish every instant
while recognizing the swift and unpredictable nature of life’s transformative
journey. “Calm Before the Storm” thus becomes a visual and tactile ode to the
impermanence of time, inviting introspection on the profound significance of each
fleeting experience.
68
Calm Before the Storm
2023
17.3 x 12.9 x 4.7 in
(44 x 33 x 12 cm)

69

ITAMAR YEHIEL
Lives in Germany
Embroidery is a global and ancient
craft that has always served as a
platform for storytelling. Women, who
had no other form of expression,
brought their cultural and personal
stories to fabrics using only needle
and thread. For a decade, Itamar
explored different continents and
countries and was always fascinated
by local and traditional crafts. He
combines thousands of years of
embroidery tradition with innovative
ideas and techniques, most of which
he developed himself.
With his three-dimensional,
philosophical, and emotional
interpretations of organic objects,
Itamar strives to release this
expressive craft from the restraints of
two-dimensional fabric, give it volume,
and offer a contemporary voice. His
method reintroduces embroidery as
fine art and embodies both innovation
and tradition. By using carefully
thought-out framing and creating an
illusion of hovering, he amplifies the
tension between the traditional craft
and his contemporary creations.
In his work, Itamar explores paradoxes
and philosophical ideas. The tension
between realism and illusion, organic
and artificial, temporary and eternal,
are all part of his artistic expression.
These come to life through objects
from nature. Just like embroidery,
nature is a global language. It relates
to all individuals and cultures, therefore
allowing his work to be intricate,
profound, accessible, and deeply
personal at the same time. He utilizes
the vast variety of objects, colors,
shapes, and textures found in nature
as vocabulary to tell new stories, both
personal and global, cultural and
emotional.
70
Pebble with Lichen
2023
12.5 x 9 x 2 in
(31.7 X 22.8 X 5 cm)
Stick with Moss and Mushrooms
2023
14 x 11.5 x 2 in
(35.5 x 29.2 x 5 cm)

71

JAY LEE
Lives in South Korea
Jay Lee, a nomadic artist from Seoul,
South Korea, uses her art to delve into
self-discovery, intertwining dreams and
emotions with nature and landscapes.
Her artistic journey is marked by
the exploration of diverse materials
and forms, reflecting her evolving
perception of space and identity. Art
has been a transformative force for
Jay, helping her navigate significant life
transitions such as early motherhood
and migration. It has also been a tool to
challenge and break free from societal
norms. Her nomadic life informs her
view on permanence, encouraging
constant reinvention and embracing
change.
Jay’s diverse use of materials,
including acrylics, natural pigments,
ceramics, papers, and fabrics,
alongside found objects, reflects her
interaction with various environments.
Each piece she creates is a dialogue
with the spaces and people she
encounters, translating these
experiences into her artistic language.
Nature plays a crucial role in her work,
with elements like stones, flowers,
and plants symbolizing connectivity
and life’s cycles. Jay’s art is
characterized by a blend of imagination
and playfulness, underpinned by a
commitment to experimentation and
spontaneity.
This approach results in a dynamic
body of work that captures her journey
as an artist constantly in motion,
seeking new perspectives and ways of
expression.
Journey
2023
98.4 x 4.92 ft
(30 x 1.5 m)
72

Jacaranda Dreams
2023
107.8 x 406.4 in
(274 x 160 cm)
73

JENNA MANZANO
Lives in the USA
Jenna Manzano is a multidisciplinary artist making sculpture, assemblage, and
drawings in fiber, paper, found objects, and pigment. Monochromatic texture and
repetition, both in the process of making and in the visual result, unify her work
across disciplines. Her primary body of work, woven and wrapped fiber sculpture,
most frequently uses the natural greyish-beige tone and slubby texture of raw
linen.
Using these readily-accessible and familiar materials, she pulls inspiration from
the postminimalist sculptural object. The postminimal shift to pliable, organically
shaped mediums was in reaction to the clean and manufactured lines of
minimalism. Likewise, Jenna returns to the incredibly slowly made and imperfect
three-dimensional object in rejection of the high-definition screens, filters, and
nonstop noise of our oversaturated digital lives. She looks to Eva Hesse, Franz
Erhard Walther, Robert Morris, and the early work of Richard Serra for models of
the human touch within an otherwise non-figurative format.
The labor-intensive process of hand-making invites silence, stillness, and
introspection in both process and result. The non-figurative work relies on scale,
form, and repetition to invite a deeper connection to attention, emotion, and
awareness. Jenna’s larger sculptural work maintains a vaguely human proportion
and scale, confronting the viewer with inevitable similarities between the work and
the viewer themselves in the amount of space they inhabit.
Fracture
2022
48 x 8 x 3 in
(121.9 x 20.3 x 7.6 cm)
74
Contain
2022
10 x 7 x 2 in
(25.4 x 17.7 x 5 cm)

75

JOEDY MARINS
Lives in Brazil
Her poetics prioritize the power
and delicacy of textile production,
understanding it as a way to perceive
and interpret the essence of the world
we live in. Her interest lies in the
fabric of nature and the search for the
appreciation of handmade work, which
is so present in the sustainability of life
itself. The grace of existence and the
perception of intimacy turn a place into
an affective space.
She works with natural and reused
materials in these traditional techniques
that transcend artistic languages. Thus,
from knitting, crochet, embroidery,
sewing, tapestry, memory records, and
feminine records, arise assemblages,
art installations, photos, sculptures,
drawings, in hybrid interpretations of
Creation, emphasizing the humanist
geography in opposition to the erasure
of memory. The fabric was inserted into
her poetry in 1994, and drawing began
to be made with scraps, scissors,
thread, and needle.
The presence of the seam in childhood
was observed as an understanding
of doing, a constitutive process prior
to the school literacy phase. In this
experience of plasticity, we find not
only a certain materiality but also the
modus operandi that reinvents itself by
recognizing in poetics the identity of the
creator, the interpretation of what he is,
of his being in the world.
Derml
2022
4 x 4 x 6 in
(10.1 x 10.1 x 12.7 cm)
BrachiariaII
2022
12 x 12 x 2 in
(30.4 x 30.4 x 5 cm)
76

Untitled
2023
15 x 15 x 1.9 in
(38.1 x 38.1 x 4.8 cm)
77

KARINA WALTER
Lives in the USA
Karina Walter is a Brazilian
multidisciplinary artist and she hovers
between two-dimensional and threedimensional
works and explores
a variety of techniques, including
photography, collage, assemblage,
installation, and sculpture.
She found herself labeled as ‘ama
del lar’ (housewife in Spanish) when
she moved to Spain, after ending
her corporate career and joining
her husband in his international
opportunity. This is a convenient
term - housewife. She realized that the
system made its own assumptions.
Thus, she became interested in the
unfolding of patriarchal discourse:
the naturalization of gender roles,
how it curtails women’s lives, and the
historical layers which accumulate
in their bodies as a consequence.
And she feels women don’t know
their bodies beyond this discourse.
Whether accepted or overlooked, the
artist believes domestication begins
when they are given their first doll, and
as she finds it impossible to be shed
from their skin, it is essential for her to
understand why women do what they
have been doing since they got their
first doll. Confined to the household
and, consequently, to the family,
women were historically designed to
private spaces.
In her work, she leverages the
symbolic significance of the house
as a place of women’s resignation.
Subversively, she gathers and reuses
ordinary, non-artistic materials that
stem from the maintenance of the
body and household routines, as well
as feminine-related objects. Body and
house are intertwined, and this relation
is her germinal soil to create her pieces
that address women’s roles in Western
culture, giving form and space to some
of these restless questions.
All Feelings Are Gut Feelings
2024
20 x 6.5 x 6.5 in
(50.8 x 16.5 x 16.5 cm)
78

Freedom Demands Too Much Effort
2023
31 x 8 x 8 in
(78.7 x 20.3 x 20.3 cm)
Experiences As a Body
2024
21 x 8.5 x 3.5 in
(53.3 x 21.5 x 8.8 cm)
79

KATE V M SYLVESTER
Lives in Australia
Sylvester has developed a unique textile practice that uses the t-shirt as a readymade
art object. Meticulously de-threaded by hand, each garment is deconstructed
to reveal the masses of material used to form a single item of clothing. The t-shirt,
globally recognizable and iconic, represents our commodity fetishism through
self-branding, utilized as a marketing tool, and worn as an activation of social and
political reference, its use evolving within our society.
By deconstructing the garment, Sylvester enables a new perspective on this
mass-produced fast fashion item. Void of its utilitarian function as undergarment,
the t-shirt is elevated into the realm of conceptual art. The weave of warp and weft
is seemingly ethereal, yet the construction can withstand extreme manipulation.
Morphed into extraordinary installations, sculpture, performance, video, and
painting, Sylvester investigates the potential of every thread within the weave. This
transformation allows a new perspective on our clothing and the items we take
for granted, considering the universal structures that bind the materials within our
environment.
Influenced by Deleuze and the fold, Sylvester navigates the metaphysical bonds
that envelop our existence within the pleats of matter and the folds of time.
Fluro Teede-thread
2024
1’55”
80

CDC T-shirt
2024
1’55”
81

KATHARINA GAHLERT
Lives in Germany
Katharina Gahlert’s works narrate themes of fragility and vulnerability, seamlessly
merging disparate structures into new units of meaning. She transforms soft
textiles into rock formations and crafts objects of intimate corporeality using found
materials, addressing the often disrupted relationship between the human body
and nature. Inspired by the complex interplay between human and non-human
matter, Gahlert investigates the interfaces between body and landscape. She
views the landscape not only as a subjective frame of reference, filled with
imaginations and human longings but also as a mirror reflecting societal values.
Her artistic practice, deeply rooted in textile arts, has increasingly ventured into
three-dimensional space in recent years. This shift has led to the creation of
body-related objects and expansive installations that visually explore the essence
and diverse expressions of the human-nature relationship. Through a play of form
and formlessness, she delves into the depths of landscape and probes various
aspects of physicality—body, consciousness, emotion, memory—intertwined and
inseparable. Transformed familiar forms evoke memories, suggesting deep-seated
images. Gahlert’s language of form reveals a quest for emotional states, playing
with associations to familiar structures, stone surfaces, skin, and archetypal
patterns.
Thus, the body becomes an interface between the self and its environment,
a link between felt alienation and the longing for connection, emphasizing the
importance of understanding our place within the natural world and our interactions
with it.
Contact Fields
2023
Left Artwork:
27.6 x 19.7 in
(70.1 x 44.9 cm)
Center Artwork:
82.7 x 63 in
(210 x 160 cm)
Right Artwork:
23.6 x 17.7 in
(59.9 x 44.9 cm)
82

Body of Land
2021
94.5 x 46 in
(240 x 116.8 cm)
83

KATHARINA KRENKEL
Lives in Germany
Katharina Krenkel calls herself a Soft
Sculptor. She has been crocheting
fiber sculptures for almost 30 years,
depicting themes from her daily life.
She uses a hook and yarn like a
classical sculptor uses clay, marble, or
wood. One could say that crocheting is
an additive construction process, but
with the difference that the crocheted
sculptures are never hard and stiff,
conveying a completely different story.
They lack the comparisons of art
history in the background but rather
evoke memories of handicraft from
their female ancestors and everyday
culture.
In addition to creating living sculptures
and crochet performances, she is a
silent and diligent working creatoress.
The main actors in her work are
huge lace doilies, 50-meter scarves,
lace borders, flames crocheted from
barrier tape, and small ingredients for
arranged still lifes. Katharina Krenkel
invents fluffy projects that involve and
intervene in the not-always-so-cuddly
everyday life.
Currently, she is working on a
transformation project. She utilizes
the fact that crocheted items can
always be unraveled. The main role
is played by a huge ball of wool that
constantly changes into a sculpture.
This sculpture only exists for a short
time until it is unraveled again. Thus, in
the end, art exists only in the yarn ball
and in people’s heads and minds. In
the worst-case scenario, the wool can
be used to make a warm sweater.
84
Big Drop
2023
39.7 x 39.7 x 157.4 in
(100 x 100 x 400 cm)

85

KATHERINE DANIELS
Lives in the USA
Leaning into my Appalachian roots and
formal training as a painter, I create
tactile objects that employ beading,
weaving, and sewing techniques.
I utilize the colors and shapes of
the materials to build abstractions
that convey a sense of momentum,
direction, and presence. Using textiles
as a medium is a visual language
that I learned as a child in West
Virginia, where my mother sewed,
needlepointed, and knit clothing
and home goods. This heritage of
needlecraft was a cornerstone of my
artistic education.
In my studio, my work evolved from
painting to sculpture and textiles when
I started adding sewing and beading,
ultimately removing paint entirely. The
physicality of touch in needlework
and the push and pull of weaving
techniques engage the haptic, optic,
and conceptual qualities of sculpture.
Beads serve as building blocks in my
sculptures; flexible plastic fence weave
works as a colored line, and chain-link
fencing serves as a diagonal grid in my
site-specific installations; ribbons are
used as a tangible means of “drawing
with fabric.” Whatever the medium, I
perceive the colors and forms that work
their way through the art as paths.
I aim to draw the viewer into and
guide them along these paths. In
this body of work, my exploration of
beauty, pleasure, and harmony in each
composition is analogous to seeking
grace, satisfaction, and balance in
one’s life.
Orient
2023
72 x 72 x 3 in
(182.8 x 182.8 x 7.6 cm)
86

Poise
2019
48 x 48 x 3 in
(121.9 x 121.9 x 7.2 cm)
87

KATHY LANDVOGT
Lives in Australia
In her perennial search for materials
and techniques that best express both
emotional realities and contemporary
cultural forces, Kathy Landvogt has
situated her work within the age-old
tradition of stitching, yet uses a specific
method developed in the 1970s. She
knits fine-gauged colored copper
wire to create a smooth wire ‘fabric’.
The resulting works are delicate but
strong enough to hold clear form. Wire
is malleable yet resistant, can both
absorb and reflect light, and is used for
both decoration and function. Knitted
wire is also reminiscent of lace, where
the spaces between are as important
to the fabric’s character as the stitches
themselves.
By developing methods of shaping,
layering, and joining this wire fabric,
Kathy has extended its characteristics
to evoke cell-like, visceral, and organic
formations. This work is part of a body
of work titled ‘The Salpinx Collection’.
Kathy’s subject here is the inner female
reproductive organs, reimagined to
explore the profound purposes and
hidden troubles they hold. A ‘salpinx’ is
a trumpet-shaped tube and is another
term for the Fallopian tube connecting
womb and ovary. The richly colored
works describe intricate vessel forms
with curves, scalloped edges, and
hidden layers, yet held up to the light
they are almost transparent.
For Kathy, combining the toughness
of wire with this gauze-like fabrication
mirrors the tensions, contradictions,
and silences of female experience.
Sanctum
2022
4 x 5 x 5 in
(10.1 x 12.7 x 12.7 cm)
88

Septum
2022
4.7 x 5 x 4 in
(11.9 x 12.7 x 10.1 cm)
89

KELLY LIMERICK
Lives in Singapore
Being mediums that are often linked to domestic folk art, crochet and knit have
struggled to break their confines as a craft rather than art. A ‘sympathetic medium’
that exists in our daily lives, textile appeals with its tactility, harboring within its
labor-intensive creation a sense of time and history. It is exactly this quality that,
when used out of convention, proposes alternative perspectives by subverting the
familiar.
By employing destruction or deconstruction as a secondary technique, I attempt
to perturb the viewer as they witness a defenseless and fragile object fall apart,
forcing them to confront emotions of loss and regret. My explorations question
the binary nature of names, adjectives, and numbers, aiming to reframe biases
by presenting the duality of these ideas. Destruction suggests an end; yet it could
also represent rebirth. The soft nature of crochet could suggest weakness; yet it is
strong and malleable compared to the brittle versions after I torch them.
It is often thought that time is money; yet it depends on whose time is in question.
What is the thin line between ‘priceless’ and ‘worthless’? My artwork implores
viewers to question their personal perceptions of value beyond the general
consensus.
Unbecoming-film
2022
2’59”
100 film cutdown
2023
1’44”
90

91

LEISA RICH
Lives in Canada
Leisa Rich’s creative journey began with a long-term childhood hospital stay and
subsequent deafness - the resulting reliance on her other senses gave her clues
to comprehend the world - a Barbie doll she dressed in clothing her mother made,
and an enveloping weeping willow tree she played under as a child. Her quest to
create a world of intriguing visual and tactile artworks that entice viewers’ senses,
installation environments that provide a brief respite from the challenges of living
today and recreate childhood experiences that made her feel safe, and interactive
art, is shared with viewers. She is also driven by an innate hyper-tactility and
manipulates materials and methods in highly experimental ways to realize this
method of expression.
The textiles and fibers she uses to bring her ideas to fruition possess a historically
significant power to tangibly and symbolically connect us. These materials have
been woven into the very fabric of human history, representing protection and
warmth, and are often ties that bind us together.
They have birthed finance, technology and sometimes, too, contribute to climate
unsustainability. Rich has always incorporated repurposed materials into her works
in a conscientious manner. Fibers transcend their utilitarian origins to become
vessels of emotion and memory. They can be transformative and remind us of the
beauty and strength found in our shared experiences. It is within these moments
interacting with art that has purpose that we rediscover our connectivity and
humanity.
Father, Son and Holy Ghost
2021
66 x 80 x 3 in
(167.6 x 203.2 x 7.6 cm)
92

In Hot Pursuit
2022
88 X 68 X 1 in
(223.5 x 172.7 x 2.5 cm)
93

LENORE SOLMO
Lives in the USA
Mixed media artist Lenore Solmo believes that everything in the world is full of
potential. As she moves through her day in her home city of Brooklyn, NY, Solmo
can’t help but notice the possibility in objects that others might pass over as trash.
Currently, her upcycled art and sculptures are made from found plastic bottles, and
she uses a technique that utilizes heat. She sculpts, cuts, and pierces the bottles
to create organic forms found in nature. The heat, when applied to the plastic,
causes it to turn and flutter, echoing actual flowers and leaves.
Her years as a jewelry designer have left her with a fashion sensibility and an
archive of vintage beads, which she utilizes in the sculptures, adding sparkle. She
is drawn to metallic colors, being the opposite of nature, and introduces an added
element of glamour.
Living and working in New York City provides an abundance of trash and a neverending
source of inspiration found on the streets of the city. She sometimes puts
her trash needs and intention out into the universe and then finds exactly what is
needed for the days of art-making adventures. A future goal is to travel to other
cities, states, and countries, collecting and creating art pieces.
94
Rose Gold Plastic Garden
2023
7 x 10 x 5 in
(17.7 x 25.4 x 12.7 cm)

Plastic Garden Gold Tide
2023
9 x 8 x 7.5 in
(22.8 x 20.3 x 19 cm)
95

LINDA FRIEDMAN SCHMIDT
Lives in the USA
Linda Friedman Schmidt juxtaposes
discarded clothing with photography
and found objects to create sustainable
portraiture. She weaves together
contemporary issues with personal
narratives. She pushes the limits of
textiles, techniques, and concepts,
adding an experimental dimension
to her artwork. Multiple techniques
including hand cutting, hand sewing,
hooking, collage, crochet, weaving, and
sculpture are employed as she rethinks
the possibilities and potentials of her
materials.
Linda’s work captures the essence of
what it means to be human at this time;
it brings an emotional depth to textile
art; it speaks with feelings. Her portraits
are concerned with the vulnerability
of cloth, threads, and people. She
believes that being vulnerable exposes
us to violence from others but at the
same time opens us to the world and
to our creativity. Openness makes
transformation possible. It offers a
chance to imagine a world in which
violence might be minimized, a world
in which our interdependence and
common humanity are acknowledged.
Through deconstruction and
reconstruction, destruction and
mending, she transforms the old
into new. Her process is a material
expression of what is happening
globally – the unraveling and alteration
of the world as we knew it as we
prepare to move on to something new.
Distortion
2024
26 x 26 x 2 in
(66 x 66 x 5 cm)
96
The Vulnerable Border
2023
30 x 20 x 5 in
(76.2 x 50.8 x 12.7 cm)

97

LUBA ZYGAREWICZ
Lives in the USA
Luba Zygarewicz is a multidisciplinary
artist whose work delves into the
essence and history of objects and
places, navigating personal, cultural,
and environmental concerns. Central to
her practice is a profound attentiveness
to the world around her, finding
beauty and potential in the mundane.
Zygarewicz amasses everyday objects
that bear reflections of personal or
communal histories. Through her
projects, characterized by discards,
repetition, and rituals, she explores
themes of fragility, repair, hope, and
belonging, employing humble materials
and accumulated labor.
Driven by materiality and process,
Zygarewicz recontextualizes the
familiar through accumulation,
manipulation, and repetition, to create
pieces that serve as points of entry for
new narratives. Her work comments
on the transience of time and
landscape, and elevates the seemingly
banal through immersive, place-based
installations and sculptures that foster
greater environmental awareness,
encourage appreciation for our
surroundings, and inspire wonder.
“Nesting Flight upon a thousand
wishes” chronicles the rite of passage
into womanhood inspired as the artist’s
daughters were coming of age.
“gathered/scattered” is part of “100
dwellings” an ongoing series dealing
with the fragility of our sense of place
as more and more people are being
displaced due to natural disasters,
redlining, gentrification, and crime.
Shaped as a circle, it beckons
restoration and wholeness.
All the teabags are from the artist’s
daily ritual; each one standing as a
marker of time and a testament to
endless hours of labor.
98
Nesting Flight upon a thousand wishes
2018
12 x 5.5 x 3 in
(3.6 x 1.6 x 0.9 mt)

Gathered Scattered
2022
5 x 5 ft
(1.5 x 1.5 mt)
99

LYNNE CHAPMAN
Lives in the UK
Lynne Chapman is a visual artist, principally creating hand-embroidered textiles in
both 2 and 3 dimensions. Chapman’s current work is the culmination of a lifetime
spent in the visual arts, with a rich history of storytelling through imagery. Her
textile artwork incorporates a number of themes, but the most recent projects
explore the very personal story of her relationship with the various symptoms
of Aphantasia (the lack of a mind’s eye). Among other things, this involves
face-blindness and SDAM (Severely Deficient Autobiographical Memory), since
memory cannot be reinforced internally and visual reference cannot be held in the
mind.
Chapman’s artwork probes the connections and fractures between perception
and memory, considering the role that the visual recall of an individual’s personal
backstory plays in the maintenance of their sense of identity and relationships with
friends and family. “Forgotten Memories” (pictured right) comprises 144 incidents
taken from an old diary, events Chapman had since forgotten. Each has been
hand-embroidered onto layered squares of organza and then coiled up, becoming
illegible and so returning to its previous inaccessibility. Like memories that remain
just out of reach, they tease us with the knowledge that there is something there
which we can’t quite get at. The heads in “Father, Brothers, Husband” (below)
represent each of the men in Chapman’s close family, depicting the way her
mind’s eye fails to remember even those people she knows intimately. The netting
expresses the manner in which their features dissolve in the mind as she attempts
to picture them. The text records the aspects of their appearance which she has
‘learned’ and so stored to her ‘knowing’ brain, as opposed to the features which
she tries to visualize, but can’t.
In addition to her personal work, Chapman’s practice also includes regular
collaborations with academics, a means by which she keeps herself continually
challenged and her work is encouraged to evolve. Mark-making and exploration
have always been central to her process, and each piece of artwork involves a
balance between careful planning, organic evolution, and enforced randomness.
Forgotten Memories
2022
12.9 x 12.9 x 0.6 in
(33 x 33 x 1.6 cm)
Father Brothers Husband
2020
94 x 66.5 x 66.5 in
(236 x 169 x 169 cm)
100

101

MAGALI WILENSKY
Lives in the USA
My art reveals the mysteries of life by peering into the unseen layers of nature.
The rolls and folds of fabric show us hidden cross-sections of atoms, cells, organs,
and organisms. I want to expose the mystery and the majesty of millions of years
of evolution, which started as the simplest life forms, becoming more complex
over time with specialized organs, and finally culminating in our conscious mind.
Representing this process as vibrantly colored visual and sculptural art, from
simple to complex, and from infinitesimal to infinite, is the foundation of my work.
My process is twofold: inward meditation and outward projection. As I roll the
fabric, I meditate while feeling the fabric between my fingers, the sensation of
the scissors as they cut, and the glue on my hands. I respond to my material’s
textures, bold colors, and how they are translated through my emotions.
As I delve within my self-awareness and manual creation, I see life forms emerge:
cells, plants, and organs. My art is a lens to look within, to connect with our
deepest most interior. By peering into my own layers, and examining my own
cross-sections, I am able to transmute a personal meditative process into a fabric
diagram of how to peel back the layers of reality and see that we are all cut from
the same cloth.
Heart of Hearts
2023
54 x 120 x 6 in
(137.1 x 304.8 x 15.2 cm)
102

Primal Interconnection
2022
36 x 46.5 x 3.5 in
(91.4 x 118.1 x 8.8 cm)
103

MALLORY ZONDAG
Lives in the USA
Mallory’s artwork explores our tenuous
relationship with the continuous cycles
of growth and decay of the natural
world and humanity’s place within
them using hand-felted wool, wax,
fibers, and objects both found and
recycled. Our collective fascination and
repulsion towards natural processes,
from blooming flowers to blooming
molds, push her to sculpt moments of
grotesque beauty in a tactile way,
blurring the boundaries between our
bodies and our environment, our
interior worlds and exterior realities.
Her work confronts the viewer with
the natural process of decay that
surrounds us by sculpting both
abstract and realistic interpretations
of it, she asks us to stare openly
at our mortality and to take in the
beauty of our impermanence. Within
the Anthropocene, our relationship
with the planet is more fraught than
it has ever been, and through her
fiber sculpture, she seeks to illustrate
both our intrinsic connections and our
destructive relationship with our planet,
always asking how we can destroy
what sustains us, why do we need
to dominate what we are inextricably
connected to, a planet that will
ultimately consume us.
She explores deeply personal and
connective universal stories through
the meditative and hands-on practices
of wet felting, weaving, sculpting, and
stitching, and through these many
mediums, seeks to bring the ephemeral
into physical being.
104
Picking
2023
12 x 9 x 3 in ea.
(30.4 x 22.8 x 7.6 cm ea.)

Order at the Counter
2023
78 x 13 x 22 in
(198.1 x 33 x 55.8 cm)
105

MARCELA DE LA VEGA
Lives in Chile
Marcela lived her childhood in Aysen, in the very south region of Chile. Therefore,
her concern for sustainability has been related to every craft or duty. From the use
of only recycled cotton rope as material to making her own “rope” from disused
clothes, to the exploration with Chilean biomaterials as algae, potato starch
and pectin, the case of the current project. At the same time, Marcela studied
crossovers between diverse textile techniques.
In her first project “Vestirse de trama” (Dressing from weft), this crossover was
applied to the creation of contemporary handmade clothing, using traditional
basket weaving, loom, and sewing techniques. In Marcela’s actual project “Paños
de agua azul” (Blue water cloths), she developed a kind of translation proposal
between the visual codes of craftsmanship, the data obtained from scientific
studies, and her experience in the ascension to the El Morado Glaciar with a
research team. For this artwork, Marcela has incorporated techniques from the
traditional Korean Bojagi, the square mesh embroidery pieces (Iberian Peninsula
and the South American colonies), decorative tapestries (Africa), and from ancient
reticular textile pieces (Chancay culture, Peru).
Coherently to her concerns, Marcela has always observed those species that are
considered extinct in her homeland. So Glaciers appeared for her as a chance to
reflect the silent disappearance through the beauty and “perfect” human craft or
footprint. Contradiction as a way to extend conversation and reflection towards
new audiences and hopefully new kinds of exhibition experiences.
106
Deshielo
2024
118 x 24 x 0.4 in
(299.7 x 60.9 x 1 cm)

Corte Transversal Glaciar
2024
118 x 24 x 0.4 in
(299.7 x 60.9 x 1 cm)
Acuifero
2024
118 x 24 x 0.4 in
(299.7 x 60.9 x 1 cm)
107

MARÍA ORTEGA
Lives in Spain
The Liquid World project is based on reflection on environmental ethics and the
“principle of responsibility” and the “new ethics of responsibility” of the German
philosopher Hans Jonas, who highlights the abuse of human dominance over
nature, leading to its destruction. He attempts to conceive contemporary social
life that includes concern for the long-term sustainability of the system and
encompasses future generations within the scope of our responsibilities. The
global management of climate change requires specific measures that determine
the principles of responsibility for all human beings regarding the environmental
deterioration posing a significant threat to our planet. “Act in such a way that the
effects of your actions are compatible with the permanence of authentically human
life on Earth” “Do not jeopardize the indefinite continuity of humanity on Earth.”
German philosopher Hans Jonas.
In this way, human beings begin to have a relationship of responsibility with nature,
as they are under its power. He concludes by stating that a new ethical proposal
is necessary, one that considers not only the human person but also nature. Este
new power of human action imposes changes in the very nature of ethics.
Therefore, this project is part of the tradition of ecosophy, that is, the philosophy
that questions the anthropocentric vision of the pyramid of living beings, in
which the human being is enthroned at the top. This current, also known as the
philosophy of the ecological crisis, is a search for wisdom in relation to human
attitudes towards the protection of the environment, nature, health and life. Liquid
World is also part of the ecofeminist movement. It establishes a link between the
patriarchal domination of men over women and the domination of humans over
nature.
Green Sea
2022
51.1 x 90.5 x 1.54 in
(130 x 230 x 4 cm)
Red Sea II
2023
51.1 x 90.5 x 1.54 in
(130 x 230 x 4 cm)
Blue Sea
2022
51.1 x 141.7 x 1.5 in
(130 x 360 x 4 cm)
108

109

MARIANNA MAGURUDUMIAN O’REILLY
Lives in Spain
Marianna Magurudumian-O’Reilly is a
multidisciplinary artist whose current
practice encompasses a variety of
artistic expressions from textile art,
mask making, and costume design
to video and sound experiments,
painting, and drawing. Each of
these practices informs the others,
cross-pollinating, offering new areas
for exploration. Interested in intuitive
practices in art-making, she is using
surrealist techniques of liberation of
the subconscious through random
mark making, and developing collages
with hybrid characters set in imaginary
architectural and psychological spaces.
Currently working on her solo show
‘The Grotesques’ in Tortosa, Spain,
in May 2024, Marianna is creating
a large installation made of textile
collages, fabric sculptures, woven
pieces, video, paintings, and drawings,
developing them into fantastical
compositions or grotesques, the style
of wall decorations that were found
in Emperor Nero’s Golden Palace in
Rome, that incorporate hybrid forms
and characters that essentially grow
from and into each other in organic
formations, seamlessly blending
human figures with animals, plants,
and architecture. Since moving from
London to rural Spain, she is immersed
in the natural environment of the
Mediterranean, observing seasonal
developments, taking inspiration from
the rocky mountains and verdant
landscapes to create organically and
intuitively developed artworks that are
enmeshed in her daily experience.
She uses organic dyes to paint her
fabric murals and textile sculptures
and incorporates clothing, wood, semiprecious
stones from recycled jewelry,
and pieces of discarded furniture to
create fantastical assemblages.
The Ascending Grotesque
2024
55 x 32 in
(139.7 x 81.2 cm)
110
Grotesque Totem
2024
55 x 34 x 1 in
(139.7 x 86.3 x 2.5 cm)

111

MARIETA TONEVA
Lives in Sweden
Marieta Toneva is a multidisciplinary visual artist. In her art, she frequently seeks
a borderland where the material and method serve as significant starting points.
In her artistic practice, she follows numerous paths. Enameling, sculptural textile,
and screen printing on various surfaces are a few examples. In order to cross
and test her ideas, she is constantly looking for new perspectives and changing
her working methods. Her own production is the main focus of her practice, which
stems from an experimental approach to materials and techniques.
Marieta Toneva’s artistic process is slow and involves numerous stages of
processing, which can take years. She collects her own drawings and photos of
places she has visited and uses these to capture different moods within them. The
images are then processed and built up layer by layer: in enamel, on plexiglass, or
paper. The most significant path in her artistic practice is the textile one.
The characteristics of the specific materials are always the starting point. The
fibers she works with become the medium through which she expresses emotions,
memories, and connections. In each piece, she invites viewers to engage with
the woven and stitched narratives, finding inspiration in the characteristics of the
fibers.
112
Origin II
2020
80.7 x 15.7 x 13.7 in
(205 x 40 x 35 cm)

Hands
2020
53.1 x 78.7 x 7.8 in
(135 x 200 x 20 cm)
113

MARIKO NAGAO
Lives in Japan
She creates works with yarn spun, dyed, and twisted from wool. She aims to
decorate spaces and walls with yarn as if she were dressing them with jewelry.
The form of her work is draped and hung like a necklace. The themes of her work
are often things that influenced her in her childhood or things that she feels or
experiences on a daily basis. Especially as a child, she was purer than she is
today. She has vivid memories of the excitement of opening an encyclopedia to
look something up and the joy of knowing something she did not know.
The closest way to express those memories and feelings was hand-spun yarn.
The unique shape and warmth of hand-spun yarns are part of the expression of
her work, and they are filled with things that cannot be described in words. Yarn is
dyed in 2-4 colors at the same time.
She likes the colors in between, where the colors blend with each other. She
believes that the colors created by human hands are unique colors that can only
be created at that time and not mechanically. A single strand of yarn has a strong
presence and is pretty. A yarn made by twisting several yarns feels like a life force.
The shape of the yarn supporting itself gives it energy.
Purple
2022
70.8 x 66.9 x 3.9 in
(180 x 169.9 x 9.9 cm)
Pink
2022
68.9 x 66.9 x 1.2 in
(175 x 169.9 x 3 cm)
114
Cordierite
2021
70.8 x 78.7 x 19.7 in
(179.8 x 199.8 x 50 cm)

115

MIRIAM MEDREZ
Lives in Mexico
Even when she has traversed through abstraction, her link with corporeality has
always been present, particularly in her most recent work. Her consideration of the
female body is the main subject and constant theme of her work. Images of the
female body abound in the history of art, generally depicted through a man’s optic
vision as an erotic object.
Nevertheless, the work presented by the artist, Medrez, is accomplished through
her very own vision and entrails. The view applied to each of her individual pieces
is made from the inside out and successfully emanates from gender ideas taken
from an intimate, as well as a universal perspective. The essence of Medrez’s
work is focused on the importance of manual labor, which gives her the capacity
to give form to a sculpture through the dexterity of her own hands and sense of
touch, lovingly creating and carefully molding each piece.
Every work of art made by her transmits the most powerful connection between
the human eye and hand because of the dedication she extends to her artwork. It
offers a successful transmission of feeling and gives the spectator an opening to a
portal that will take them into worlds never before reached or even imagined.
116
Destellos-de-luz
2022
31.4 x 12.5 in
(80 x 32 cm)

Figura-Negra-Flores
2023
28.7 x 14.5 x 20.8 in
(73 x 37 x 53 cm)
117

MONA RITH
Lives in Austria
In her artistic works, Mona Rith deals with the character and quality of materials,
in close dialogue and depending on the technique and the particular conditions of
implementation. In her woven sculptures, objects, or images, she experiments with
different fibers, in combination with diverse methods and a variety of manipulations
of the weaving process. Her main focus is on dobby weaving, but she also
produces her own custom-made tools for the realization of her art. Additionally,
she sometimes finishes her work with embroidery or sewn pieces. The immense
spectrum of creativity offered by textile materials is her playing field.
Rith is interested in weaving abstract objects and explores the possibilities
between solid structures and dissolution or decay. The concept of impermanence
and the omnipresence of change are present in her work. She plays with tension,
shrinkage, and other behaviors of the material through the method.
Mona observes and explores interactions, connections, and chains of
reasoning with great curiosity. The representation of processes as a possible
explanatory model for complex relationships and connections is one area of her
considerations. Rith uses threads and surfaces in a natural way to manifest and
depict phenomena creatively. The results are abstract works of art.
Wesen 6
2023
12 x 12 x 2 in
(30.4 x 30.4 x 5 cm)
118
Illustration
2020
79 x 28 in
(200 x 71.1 cm)

119

NHA NGO
Lives in Austria
The work series “In Between” presents a number of weaving works. The motifs
are first printed on silk organza before they are cut into strips and woven into
new formations. Each piece in this series is a unique narrative that tells its own
story with a delicate fusion of past and present, from one place to another. This
combination of materiality and memory creates an atmosphere that takes the
viewer on a journey through time and space.
“4.8.1995, Điện Bàn, Quảng Nam II” is an installation, which consists of several
woven layers. The strips of airy, lightweight silk organza fabric, printed with
selected motifs, are intertwined and delicately allude to the artist’s childhood
memories. Wandering between the woven pieces allows an interaction between
the subtle physical manifestation of memory and the viewers.
Work Series In Between, In Between VII
2023
8 x 11 in
(20.3 x 27.9 cm)
120

4.8.1995, Điện Bàn, Quảng Nam II
2019
29”
121

OCTA CLAIRE
Lives in the USA
Light and Body Matter, a multisensory
fabric screen sculpture on the left, is a
meditation tool designed to experience
light, birth, and the transformation of
space.
Framing the sun’s imprint on the mind,
it facilitates the birth of space within the
body through light and soundscapes,
offering diverse spatial environments
from domestic to urban settings.
Descending towards the sunset, one
immerses into the absence of light and
into the unconscious state of life to be
reborn again. Time is, therefore, tied in
a cyclical framework.
On the next page, “Embodied Silence”
is a wearable acoustic architectural
environment functioning as a sculptural
bookshelf, embodying silence for the
gestation of thought and the dispersal
of knowledge. This design draws
parallels to the undisturbed central
ovary structure of balloon flowers,
symbolizing a space for birth.
122
Light and Body Matter
2023
6 x 2.4 ft
(182 x 74 cm)

Embodied Silence
2024
50 x 50 in
(128 x 128 cm)
Embodied Silence Enclosed
2024
100 x 100 in
(254 x 254 cm)
123

PENNY DI ROMA
Lives in Argentina
Her work is nourished by her imagination, where she recreates worlds with
echoes of exotic gardens or undiscovered aquatic realms, fused with the
abstract representation of the body and its viscera. Sensuality permeates her
work through forms that contort and spill over. Tightness and containment. The
constant dichotomy between restraint and discomfort. The prevailing sensation of
suffocation, of urgency as if something is about to happen.
Her artistic research is deeply influenced by manual craftsmanship, such as
sewing and embroidery. She is continually engaged in creating elements that
could be related to landscapes of other worlds, interplanetary simulations. The
reminiscence of flesh, viscera is a constant source of inspiration in her research.
Currently, she is working within the framework of bioart and botany, where she
creates incubator capsules that function as allegories contained in a physical
space, depicting what has been and the future that will come; where these plants
growing on plastic waste tell a story: the unfolding of an imminent future marked
by the impact of the human footprint, where garbage landscapes loom and coexist
with nature as we knew it.
Her ecosystems are constructed similarly to stalagmite and stalactite structures,
confined within spaces with traces of post-human dystopias. Her amorphous forms
are a representation of Garbage Habitats, formed from waste and accumulation.
A land where humans reign. Futurism and craftsmanship, organic vs plastic,
science and tradition, these constant contradictions that, in their desire to coexist
symbiotically, define her artistic process.
124
Here lies the remains of the
treasures of the Realm I destroyed
2024
68.9 x 15.7 x 15.7 in
(175 x 40 x 40 cm)

125

RAPHAEL DIAS
Lives in Brazil
Inspired by the modernist movement,
Raphael Dias traverses themes
linked to his solar soul, the curves
of architecture, and the observation
of nature’s expression. He creates
and revisits imaginary landscapes,
shapes, and contours tied to his
experiences and emotions. The
tapestry compositions originate from
paper cuttings, which are transformed
through threads, in the stillness of
weaving.
He brings forth the sewing of time, with
meticulous manual work in textures,
movement, and organic shapes. In
his research, he explores Brazilian
aesthetics between the 1950s and
1970s, influenced by concretism
and the pursuit of timeless forms
and lines. He grew up observing and
revisiting Niemeyer’s architecture,
Burle Marx’s gardens, and Portinari’s
murals. Architecture has always been
a significant inspiration, as have the
timeless lines of design.
He seeks to prioritize natural materials
of Brazilian origin. The textures and
shapes that tapestry allows him to
showcase enchant him, and the way
the pieces blend into environments,
bringing lightness and elegance.
Through paper collage, he simulates
infinite combinations until he feels
ready, where shapes magically
intertwine, like an overlay of layers
and fragments, where the only limit is
himself.
Tarde de verão II
2024
3.93 x 2.7 ft
(1.20 x 0.85 m)
126
Passagem do Tempo
2023
18 x 1.8 ft
(5.5 x 0.55 m)
Tarde de verão I
2024
3.93 x 2.7 ft
(1.20 x 0.85 m)

127

REGINA DURANTE JESTROW
Lives in the USA
Her artistic practice involves deeply
exploring American textile history and
reinterpreting quilting traditions. Sewing
as a child paved the way for a creative
journey combining quilt-making
with improvisation, contrast, repeat
patterns, and shifts in scale. She draws
inspiration from the vibrant landscapes
of South Florida, weaving the colors,
textures, and structures of the region
into her work using a diverse palette
of new, second-hand, and hand-dyed
textiles.
Glitter & Gold 3
2023
49 x 37 in
(124.4 x 93.9 cm)
An integral part of her artistic ethos is
incorporating thrifted and second-hand
textiles, aiming to address the pressing
issue of textile waste that plagues our
society today. She employs symbolic
geometric quilt patterns as a foundation
in her artistic practice, transforming
and manipulating shapes to create
dynamic movement and evoke a sense
of transformation. To reflect the Miami
landscape, she uses colors inspired
by the rich tapestry of its diverse
population, complemented by dyes
derived from locally sourced plants.
Her use of materials, such as
neoprene, sequins, and faux leather,
pays homage to the pop culture that
permeates Miami’s artistic identity. Her
artistic journey is guided by a profound
appreciation for American folk art quilts
and a deep admiration for geometricabstract
artists from the mid to late
twentieth century. Visionaries like the
Gees Bend quilters, Elizabeth Murray,
Helen Frankenthaler, and Gego have
left an indelible mark on her creative
perspective. Their influences have
been powerful motivators, driving her to
produce quilts with significant personal
symbolism and weaving intricate
narratives within their patterns.
128

Vulnerability & Resilience 16
2023
75 x 67 x 1 in
(190.5 x 170.1 x 2.5 cm)
129

RENATA CARNEIRO
Lives in Portugal
Her work is a reflection on the Woman as an independent, constructive, and
suffering human being who overcomes obstacles, who is creative and hard worker
who imposes herself as a unique being and who gives birth to Life. Her passion for
oriental culture is the inspiration for her paintings, drawings, and prints. The female
figure present and honored in her work is a constant that sometimes praises
and other times denounces those acts silenced by society. In a unique bond with
nature, the East, and the West, her union with these elements is the way she finds
to tell female stories.
The textile form of communication she finds it in just a couple of years and she
is developing through the line of the thread some new organic forms on paper,
reaping, sewing, constructing other meanings of the prints, other stories.
The ginkgo-biloba leaf is an important piece and always present in the work. It is
a representation of strength, the capacity to overcome big and dramatic events in
nature and therefore she compares it with women because of that, the very shape
of the leaf, so beautiful cut with all the curves like the women’s body. As a Woman,
she feels, she thinks, she paints, and she sews.
Maiko
2023
6 x 6 in
(15.2 x 15.2 cm)
130

Maiko
2023
6 x 6 in
(15.2 x 15.2 cm)
131

SARA PEREIRA
Lives in Portugal
When she thinks about her work, Sara Pereira envisions organic spaces filled
with trees and abundant light. These spaces often depict crop fields fragmented
by different plantations, featuring numerous shapes and intricate details. They
represent areas in constant transformation, where the passage of time holds
significant importance.
The notion of space between disparate elements is also central to her work— the
space between her own space/time and that of others, the interplay between her
body/spirit’s need for time/space and the relationships/tensions constantly evolving
with surrounding bodies. She reflects on the juxtaposition of the contemporary lack
of time with the ubiquitous need for constant connection and exposure to various
media. Additionally, the concept of sketching as a creative process holds great
significance for her.
She embraces the idea of her works being alive or in a state of perpetual
construction, deliberately leaving traces of her process visible in the final pieces.
In recent months, Sara has been experimenting with yellow thread on white net.
Working with a single color allows her to freely explore space and techniques,
discovering new shapes, textures, and their interplay. She creates these tapestries
using latch hook technique, embroidery, and manipulated thread.
Pyrenees Series
2023
31 x 67 x 1.2 in
(78.7 x 170.1 x 3 cm)
132

Morning in Sintra
2023
61 x 56 x 1.2 in
(154.9 x 142.2 x 3 cm)
133

SARAH HASKELL
Lives in the USA
Thread is her medium, color is language. She dyes linen, paper, or cotton with
botanical dyes from plants and minerals. She weaves, embroiders, or crochets
these threads, seeking to define a personal truth and collective wisdom. The
Buddhist concept of impermanence is at the core of her work. Exploring the
parallels between the impermanence of her organic textile materials and our
human bodies, she treats her handwoven linens to rust dyeing, weathering,
bleach, and compost dyeing. These transformative dye processes allow her to be
a witness in the process of metamorphosis and to challenge her attachment to
what she once deemed as precious.
After the handwoven linen has been weathered and dyed, she embellishes it with
hand stitching to add details to the imagery and story. Although she is trained as
a fine textile maker, her work has always been more poetic than practical, finding
beauty in the imperfection of hand-dyed and woven threads.
If there is a single thread that weaves consistently through her work – it is her
curiosity about the human spirit and the mysteries of life. Within the repetitive
methods inherent to textiles, she finds a quiet space of engagement - a place
to illustrate universal stories of love, loss, and longing, the heartache of the
ephemeral, the tender beauty of the natural world, and the astonishing gift of being
human.
Along the Wrack Line
2023
12 x15 x 2 in
(30.4 x 38.1 x 5 cm)
134

Open Circle, One Family
2023
12 x 15 x 2 in
(30.4 x 38.1 x 5 cm)
Hold Me Like a Mother Red
2023
20 x 24 x 2.5 in
(50.8 x 60.9 x 6.3 cm)
135

SARAH VIGUER CEBRIÀ
Lives in France
Gambusino is a series of textile sculptures that are both self-supporting and
suspended, combining vernacular weaving technique and bio-material research.
This 3D textile allows seamless assembly, directly from the loom, thanks to the
adhesion of the bio-sourced rubber threads inserted in the direction of the warp.
This technique enables endless combinations using its self-gripping edges. Like
the original gambusinos – the hybrid, snake-like mythical animals that Iberian
children hunt in places inhabited by spirits –, they are meant to help overcome
one’s own fears. They act as a soothing cure for the artist’s rare illness that
attacks her organs’ micro-vessels. Through the process of weaving, she mimics
the snake’s passage from one edge to the other, creating a “living image” which,
as Aby Warburg writes in The Ritual of the Snake, “binds by incorporation” the
benefactor animal and her damaged blood vessels.
Her furred gambusinos are “magical analogies” endowed with clinical property,
with wool threads, offering a hyper-resistant, warm, and protective fiber honoring
animal strength. Like sponges, these chimerical creatures are full of orifices
opening up on bended cavities.
They are “organ-bones,” connecting through their sphincters, “inviting the spirits
from the mouth,” swelling and articulating thanks to rubber-made muscles and
tendons. Matter has its own intelligence and behavior. These sculptures aim
to question the role of matter in determining form. They embody a claim about
formlessness and its power to rebel against the desire to impose an immutable
order.
136

Gambusino Bocazas
2023
39.3 x 27.5 x 11.8 in
(100 x 70 x 30 cm)
137

SILVINA SORIA
Lives in Spain
Silvina Soria is deeply rooted
in traditional techniques, where
construction methods and materials
are held in equal regard to conceptual
exploration. She is driven by a quest
to represent lightness and subtlety
in sculpture. Her approach involves
working with steel rods, intricately
weaving them with wire and threads to
reimagine volume and textiles, infusing
space with delicate spatial patterns.
Drawing inspiration from natural
systems like rhizomes, roots, and
maps, she constructs structures that
evoke organic growth.
One of her series, “Alambrares,”
features steel frames serving as
looms for intricate wire designs. In
her subsequent series, “3D Maps,”
Silvina Soria ventures beyond threads,
incorporating steel rods to create
alive, organic forms. Her art is deeply
influenced by her observations of
urban life, where individuals often feel
like pieces of a puzzle in a sprawling
metropolis.
Underground
2017
36.6 x 29.5 x 3.1 in
(93 x 75 x 8 cm)
Silvina Soria’s personal interest in
labyrinths, stemming from her time
in London, reflects on the paradox of
being seemingly trapped in routine
amidst the city’s bustling crowds.
Themes of mapping, rooting, and
connections recur in her work,
influenced by her status as a foreigner
in her current city and through her art,
Silvina Soria explores the intricacies of
urban existence.
138
Rooting
2018
25.5 x 36.6 x 20.8 in
(65 x 93 x 53 cm)

Metropolis
2023
49.2 x 51.1 x 27.5 in
(125 x 130 x 70 cm)
139

SONJA CABALT
Lives in The Netherlands
Sonja Cabalt’s work is about the delicate balance between humankind and
nature. It recalls processes like new life, growth, decay and the fragility of
our environment, although they evoke these elements in a non-literal way
through abstraction. She is known for her tactile approach, playing with texture,
experimental techniques and organic shapes; with the coexistence of attraction
and repulsion, allowing the objects to evoke positive and negative feelings.
One of her major works includes the ‘Pods’ series, which started in 2012 and
was created from separate elements that clump together, grow, and form a new
organism. Zoomed in on molecules in a body, or on seeds that can emerge and
grow again at any time. Based on various techniques and material research, she
has developed a certain formal language for this and elaborated on it. The pieces
eventually became larger and more alienating due to the combination of horsehair
and wires, which creates a wrenching, uncomfortable feeling.
The tactile soft warm felt, therefore, takes on a different character and encourages
the viewer to make new interpretations, associations, and imagination, to step into
a poetic world.
140
Pods 56893
2019
80 x 60 x 60 in
(203.2 x 152.4 x 152.4cm)

Metropolis
2023
49.2 x 51.1 x 27.5 in
(125 x 130 x 70 cm)
141

THE PHANTOMAT
Lives in the UK
With techniques of sober shamanism, The Phantomat goes on journeys to etheric
worlds. During his states of altered consciousness, he can hear colors and smell
mathematical shapes. He has tried to explain how a telephone works to a human
spirit who died in the medieval times. A faint ‘screenshot’ of these experiences is
documented after the journey.
In his abstract drawings on silk starting from 2017, he creates a playful frame with
dense black patterns and shreds the silk on the edges which resemble tape from
a cassette. They present a contrast to the beautiful realms created by blues and
indigos bleeding on the silk. The body of work The Golden Shadow focuses on the
perception of his body merging with other things like plants. Sketches with ink on
textile paper have spotlights where they are colored like a hand-painted black and
white movie.
Recurring themes are subjects that are partially out of the ‘frame’ of the painting
and cracks or holes which separate this world from the other one. His works have
a sketch-like appearance with different emotional states going on in one drawing.
The Phantomat (*1977) grew up in Frankfurt and Costa Rica and lived in Vienna
before moving to London in 2012. Exhibitions include: Humanity, Sotheby’s,
London (2023), CICA Museum South Korea (2023), Brighton & Hove Museum
(2023-24).
Dust of Knowledge
2023
19 x 27 in
(48.2 x 68.5 cm)
142

Spaceless
2020
12 x 8 in
(30.4 x 20.3 cm)
143

TICHIT CHANTAL
Lives in France
To unmask and counter the
expectations and injunctions
associated with being born a girl or a
boy, Chantal Tichit stacks, assembles,
and constructs formal universes that
play with ambiguity to encourage the
eye to build bridges between the inside
and outside of our bodies, outside a
familiar formal body vocabulary.
Textile is one of her favorite mediums
because it allows us to apprehend
volume in a complex way. It can be
modeled, spread out or constrained,
contoured, included, folded... and give
an account of an embodied existence.
She mixes it with paper, which she also
triturates and models, on which she
also inscribes organic landscapes in
pencil and watercolor.
This work also revolves around notions
of difference and resemblance, with
one form concealing another. Chantal
Tichit knits and models complex
structures by agglomerating, sewing,
embroidering, and gluing textiles and
paper, and by inserting salvaged
objects to draw another anatomical
geography, formulate another
body mythology. She assembles
heterogeneous, contradictory elements
without compromising a certain visual
harmony. The subtlety of the contours,
the warm colors at first seduce, when
suddenly, the perception of an organ
or a tension shakes! In this way, these
works embody beings with delicate
features and gentle postures, allowing
themselves to be expressed in the
most subtle of ways.
Mecanique des Fluides
2019
20 x 20 x 21 in
(50.8 x 50.8 x 53.3 cm)
ContreCarré.e.s
2024
29 x 16 x 7 in
(73.6 x 40.6 x 17.7 cm)
144
Cellules en Etat de Siege
2023
34 x 22 x 23 in
(86.3 x 55.8 x 58.4 cm)

145

VERONICA POCK
Lives in The Netherlands
Veronica is an artist working in the
medium of weaving, creating wall
hangings and art from recycled and
repurposed materials. The finished
pieces range in size from larger wall
hangings to small, intricate works
and combine textures, colors, and
finishes with a complexity of surfaces
and structures that demand closer
inspection. The overall result is
an abstract image with emerging
shapes and patterns, often appearing
serendipitously, composed by the
constraints of working on the weaving
loom.
With materiality as a starting point,
Veronica gives value and meaning
to apparently worthless and waste
materials, revealing their beauty,
depth, and character using various
handwoven structural effects. Old and
unwanted materials, such as papers,
are cut into fine strips and used as
weft in a warp composed of various
natural and synthetic yarns. At the
heart of Veronica’s work is the intention
to reveal what is hidden, exposing
memories buried in the unconscious,
held latent within.
Using materials with inherent
‘memories’ - used and waste materials
- and reconstructing them, those
memories are distilled and manifested
as tangible structures. Reacting to the
material and its provenance, Veronica
exposes its essence, the story it has
to tell. Weaving acts as a metaphor
for memory expressed in textile form,
where the impermanence of the
textile reflects the transient nature of
remembered events, experiences, and
emotions. Veronica weaves memories
into physical form, taking something
unwanted and transforming it into a
thing of beauty.
Waymarkers
2022
59 x 18 x 5 in
(149.8 x 45.7 x 12.7 cm)
146
War Famine Plague Repeat IV
2022
26 x 15 x 1 in
(66 x 38.1 x 2.5 cm)

147

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artists biography
156

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.
A RENDEIRA BY SARA RATOLA
Lives in Portugal
INSTAGRAM: @arendeira
Sara Ratola is a Portuguese textile artist. Born
in 1983, she studied Landscape Architecture
and is married with three little girls. She grew
up watching her maternal grandmother’s
synchronized movements of her fingers, line,
and needle, like a delicate dance where each
stitch was a choreographed step. Today, from
crochet to arraiolos, Sara designs narratives sewn
with threads, curiosity, and a desire to create,
making embroidery not just a skill, but a ritual of
artistic expression, connection with the past, and
construction of the future. Her project “A Rendeira”
began as a hobby in 2011, but it became more
serious during the pandemic. She rescued old
material from a trunk and resumed LatchHook,
arraiolos, and embroidery, techniques she had
worked with until she was 17 years old. Locked
at home, people turned to DIY kits and online
workshops, which sold out as soon as announced.
Rendeira grew and underwent metamorphoses
that followed the natural course of Sara’s life. In
each stitch, “A Rendeira” recovers the legacy of
Portuguese embroidery, weaving a unique narrative
that takes as its starting point techniques from the
past and extends towards a creative and renewed
future. In September 2023, she participated in a
collective exhibition, where she exhibited “A Revolta
da Flora” for the first time. In February 2024, her
art was featured in Entretantos magazine for the
first time.
ADRIANA FERLA
Lives in Brazil
INSTAGRAM: @adriana.ferla
Adriana is an artist who finds joy in drawing,
embroidery, and painting. She draws inspiration from
her surroundings, whether it’s the cozy corners of
her home or the vibrant landscapes of Brazil. Having
studied Graphic Design at Mackenzie University in
São Paulo and delved into contemporary art at EINA
in Barcelona, Adriana possesses a rich academic
background. She also shares her passion for art by
teaching adolescents and children while pursuing
her own artistic endeavors. Adriana actively engages
in various artistic pursuits, including participating
in groups like Painting Practice and Reflections,
where she learns from established artists like Paulo
Pasta. Her commitment to learning and exploring
different artistic styles reflects her dedication to
growth and development as an artist. Currently,
Adriana is involved in Ateliê Vivo at Praça das Artes
in São Paulo, immersing herself in the vibrant art
scene of the city. Her artwork has been showcased
in exhibitions, salons, and fairs across São
Paulo, Ribeirão Preto, Brasília, Belém, and even
Barcelona, highlighting the breadth of her artistic
reach. Living and working in São Paulo, Adriana’s
art serves as a reflection of her deep connection to
her environment and her continuous exploration of
the beauty and diversity of the world around her.
AMELIA NIN
Lives in Germany
INSTAGRAM: @amelia.nin.artist
WEBSITE: amelianin.com
Amelia Nin is an Uruguayan textile artist who
has been living and working in Berlin since 2007.
She studied Textile Design at the Design School
University of Uruguay and worked in 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. 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 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, Poland, and Ukraine. Her works are part
of diverse private collections in Germany, Mexico,
and Uruguay.
ANNA TSVELL
Lives in Serbia
INSTAGRAM: @annatsvell_fiberart
WEBSITE: annatsvell.squarespace.com
Anna Tsvell is a full-time multidisciplinary visual
artist focused on abstract textile art, who has worked
with or been featured by Gucci, Dior, Tiffany&Co,
Adidas Originals, Harper’s Bazaar, Lampoon
Magazine, DressX, Winsor & Newton, Art on a
postcard (a famous charity project), SHOWstudio,
Beautiful Bizarre Magazine, and others. Anna
currently lives and works in Belgrade, Serbia.
Self-taught, she began her art career in 2014 and
developed her own distinctive artistic style, making
her artworks extremely recognizable and attractive
to art collectors all over the world. Anna started her
fiber art practice in 2017 in Los Angeles, US. As a
fine artist, she decided to experiment with textiles,
creating a small series of wall hangings (5 pieces)
that sold out to private collections immediately.
Later, in 2020, Anna returned to her textile art
practice and has since been creating intuitive,
process-based fiber artworks. Anna’s fiber artworks
are inspired by nature textures with a sophisticated
touch of dark aesthetics. They are always handembroidered
on transparent tulle, as she aims to
show the importance of seeing the invisible on both
physical and mental levels. The back side of Anna’s
works is as substantial as the front side; both sides
contribute to making the work complete. Anna’s
artworks are intuitive; she only chooses the color
palette but never has a sketch or plan before starting
to work on a new piece.
ANNIKA ANDERSSON
Lives in Sweden
INSTAGRAM: @textilannika
WEBSITE: textilannika.se
Annika Andersson is a Swedish textile artist with an
education in hand weaving but otherwise considers
herself self-taught. Her main techniques are weaving
and dyeing, both with equal importance. Since the
end of the 1980s, she has been working in her
own studio outside Gothenburg. Over the years,
Annika has had several solo exhibitions; her next
will be in June 2024. She has also participated in
group exhibitions both nationally and internationally.
For example, she was invited to participate in the
exhibition “Can you hear me” together with 13
Nordic artists at Galleria Fab in Tirana, Albania,
in 2022 and will be shown in an exhibition in New
York in March this year. Annika also works on
commissions; in collaboration with FJ Hakimian
Inc in New York, she has been weaving large sitespecific
rugs in her own design since 2014. In 2023,
she wove the largest carpet so far at 38 square
meters. Annika has received working grants from the
Swedish Arts Grants Committee and several other
grants from different foundations. She is represented
in Lerum municipality, the People’s House
movement, Västra Götaland region, Sörmland
county council, and The State Council for the Arts.
Annika has been traveling as an artist in residence
to Iceland, Finland, and Norway.
BARBARA ASH
Lives in Europe
INSTAGRAM: @barbara.ash.artist
WEBSITE: barbaraash.org
Barbara completed a Fine Art degree at Middlesex
University and went on to gain her Master’s degree
on the Sculpture program at the Royal College of
Art in London. She has exhibited widely, both across
England and internationally, and has received
various awards, including 2 Arts Council England
artist grants, the Year of the Artist Award, the
Spike-Mellushi Award, and was a “Judges’ Favorite”
(Mary Allen; ex-Secretary-General of Arts Council
England) in the British Women Artist Annual. In
addition she was also a finalist for the Sculpture
category in the Marshwood Arts Prize 2019, selected
by Tania Kovats, and was awarded the Henry Moore
Fellowship based for a year at Canterbury College
of Art. Before leaving her studio practice at Spike
Island in Bristol, she had a very active 10-year
practice in Bangalore, working around various
regions of India on residencies, projects, and shows,
enjoying the freedom and learning opportunities that
a different cultural aesthetic offered. Her farewell
project was to co-organize an India to Europe
touring exhibition “Melting Pot”. This project of 4
women artists from 4 different countries visited
3 countries and was inaugurated by Juan Cruz;
the Dean of Fine Art at the Royal College of Art at
the Indian High Commission in London. Barbara
currently makes work on a boat in a marina near
Bristol in the UK.
157

BEATA PROCHOWSKA
Lives in Germany
BÉRÉNICE COURTIN
Lives in France
BIJOU ARTS
Lives in the USA
BROOKS HARRIS STEVENS
Lives in the USA
INSTAGRAM: @beata.prochowska
Beata Prochowska is a textile artist living and
working in Germany. She studied at the State
Academy for Film, Theatre, and Television in Lodz/
Poland and at the National Theatre Academy in
Cracow/Poland. For more than two decades, she
has worked in theatre and opera as both a costume
and set designer. Between 2010 and 2014, she
lectured on Costume and Cultural Studies at
Folkwang University of the Arts in Essen/Germany.
A long-term collaboration connects her with English
director Brian Michaels (over 20 productions
between 1993 and 2016). In 2002, she established
her own studio for textile design, textile art, and
costume design. From 2007 onwards, her artistic
focus has primarily shifted towards textile art. She
has presented several thematic series, including
“Vanitas,” “Paradise Lost,” “Seven Deadly Sins &
Seven Cardinal Virtues,” “Be Wise Tell Lies,” “Put
The Lid On,” and “Thinking Of Universe” (among
others). In the last few years, she has participated
in various exhibitions and solo shows, including
“Nailed Heads” (2018), a solo exhibition in Bad
Honnef, Germany; “Les Fleurs du Mal” (2021), a
group exhibition at Parrotta Contemporary Art in
Cologne, Germany; the 4th Textile Art Biennale
(2023), a group exhibition in Poznan, Poland; and
“Forget Me (K)Not” (2023), a group exhibition at
Muse del Ricamo e del Tessile in Perugia, Italy. She
also teaches adults in museums in the field of textile
arts. “Beata Prochowska is a textile artist whose
conceptual artistic work reflects on the perception
of time, measurement, waste, and loss. She brings
us disturbingly close to questions of guilt and
responsibility...” (Dr. Birgit Kulmer, curator, Parrotta
Contemporary Art, Cologne)
INSTAGRAM: @berenuee
Bérénice Courtin is a multidisciplinary artist based
in Paris and Geneva. She earned her Masters in
Contemporary Applied Arts at the Massana school
in Barcelona and a Master in Contemporary Art
practices at the HEAD school in Geneva. She
focuses on Textile Arts, Audiovisual, Performance,
and Installation. For five years, she has been
researching the story of her grandfather Kazimierz
Gaca, a Polish resistance fighter during World War II
who worked with the ENIGMA machine. She creates
fabrics with a digital Jacquard loom, embedding
codes inspired by encrypted messages, drawing
parallels between the loom and the machine, both
being the origin of the computer and the binary
code. She has collaborated with artists to create an
experimental cinema performance on this subject,
presented at the La Alternativa festival at the CCCB
in Barcelona in 2021. Her work was exhibited at The
Centre Pompidou Metz in 2023, in the Capsule, for
her interactive installation “Digital Jacquard,” and at
the festival Octobre Numérique in Arles in 2023.
In 2022, she won a grant from the region Auvergne
Rhône-Alpes to create interactive costumes and
a 3D movie in the house of Jacquard near Lyon.
She is currently working on a new project for
the European Union Commission at the Basque
Biodesign Center in the Basque Country mountains
in Spain. This project will be showcased at the Milan
Design Week in April 2024.
INSTAGRAM: @bijou.textileart
WEBSITE:bijou.art
Sally Nicholson, a seasoned artist and creative
luminary, intricately navigates the realm of
iconography, utilizing a distinctive language that
speaks through mythical, heroic, and historic
symbols. Nicholson crafts stylized images that not
only encapsulate the essence of the subject but
also infuse the narrative with a delicate interplay
of humor and pathos, manifested in thoughtfully
chosen motifs. Drawing inspiration from the world’s
great mythologies, each piece becomes a rich
tapestry of storytelling, adding layers of significance
to the viewer’s experience through exquisite
fabrics and intense color palettes. Situated in
Geyserville, Sally exercises her artistic prowess
in a studio where silk, brocade, and gilded textiles
metamorphose into the canvas for her creations.
The meticulous process involves cutting images
from fabric, followed by expert satin stitching,
resulting in a captivating synthesis of texture and
form. Graduating from UC Davis in 1971, Nicholson
embarked on a noteworthy career, contributing
design expertise to fashion houses like Ralph
Lauren, Calvin Klein, and Levi’s. Later transitioning
to the role of an M&A advisor, specializing in the
wine business, she showcases a remarkable fusion
of artistic flair and business acumen. Sally’s journey
is a testament to a life well-lived, intertwining artistic
ingenuity with diverse professional experiences.
Through the evocative language of her art, she
captivates audiences, inviting them into a world
where imagination meets skill, and each icon
becomes a portal to a unique narrative.
INSTAGRAM: @brooksharrisstevensart
WEBSITE: brooksharrisstevensart.com
Brooks Harris Stevens is an artist and Professor
living in the foothills of the Blue Ridge Mountains.
Brooks is an interdisciplinary artist who focuses
on creating work that reflects human experiences
rooted in textiles. Her creative practice finds
solace in the mending of cloth, land, and the built
environment, as well as using her voice to highlight
societal issues using textiles as a form of activism
reflective of cultural and political complexities in the
United States. Currently, she has work in exhibitions
at The Cultural Center of Cape Cod and the QiPO
Artfair in Mexico City. Brooks has recently had work
included in Mining Mending at the Textile Center in
Minneapolis, Minnesota. In addition, she recently
had a solo exhibition, Mending Gold: Weight of
Change, at the Robert Hillestad Textile Gallery
at the University of Nebraska, Lincoln, and work
included in Volcano Lovers at Frontviews Gallery in
Berlin, Germany. Brooks has had work included in
Excellence in Quilts at the Textile Quilt Museum in
Iowa, and in the invitational Biennial Fiberart Fair
at the Hangaram Museum in Seoul, South Korea,
as well as Guns: Loaded Conversations, a traveling
exhibition featured at the San Jose Museum of
Quilts & Textiles, and the New England Quilt
Museum in Lowell, Massachusetts. Harris Stevens
maintains a dedicated artistic career working to
expand her studio practice as she approaches
making work that intertwines her personal history
and challenges faced in the United States.
CATHERINE REINHART
Lives in the USA
CHARLOTTE SCHMID-MAYBACH
Lives in the USA
CLUCA
Lives in France
CRISTIAN VELASCO
Lives in Chile
INSTAGRAM: @catherine_reinhart_com
WEBSITE: catherinereinhart.com
INSTAGRAM: @clsmstudio
WEBSITE: charlotteschmid-maybach.com
INSTAGRAM: @clucakunst
WEBSITE: cluca.org
INSTAGRAM: @cvelascog
WEBSITE: cristianvelasco.art
Catherine Reinhart is an interdisciplinary artist living
in Ames, IA, U.S.A. Reinhart creates fiber work and
conducts social practice with abandoned textiles
around themes of domestic labor, connection, and
care. She received her BFA in Integrated Studio
Arts - Printmaking and Fiber in 2008 from Iowa
State University. In 2012, she completed her MFA in
Textiles from the University of Kansas.
Reinhart exhibits her work locally and nationally. She
has been the recipient of numerous grants. These
include a 2015 Personal Development Grant from
the Surface Design Association and grants from the
Iowa Arts Council in 2016, 2019, 2020, 2021, 2022,
and 2023. Her work is included in the Southern
Graphics Council Print Collection and Archives at
the University of Mississippi at Oxford, Mississippi,
and the Print Department Permanent Collection
at Kyoto, Japan. Reinhart has been selected as a
presenter at the “Mending and Making Workshop”
organized by the Endangered Material Knowledge
Programme at the British Museum. Catherine has
served as a selected panelist on “Visualizing Place:
A Conversation with Visiting Artists Featured in the
Power of Place”, Power of Place at the Spencer
Museum of Art in Lawrence, KS. Reinhart has
attended several invitational artist residencies. She
was named a 2020 Iowa Artist Fellow, a 2021 Artistin-Residence
at the Terrain Residency, an inaugural
recipient of the Alex Brown Foundation Artist-in-
Residence (Fall 2022), and an Artist-in-Residence at
the West Cork Art Center in Ireland (2023).
Charlotte Schmid-Maybach is a multidisciplinary
artist working with photography, textile 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. Now, instead of focusing on
an ancient civilization or the news, she is interested
in a more subjective approach. Charlotte excavates
her memories and imagination to create her own
photographic artifacts. Charlotte started studying
with Los Angeles 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 and was an exhibitor in
Klompching Gallery’s FRESH 2023. She has had
solo exhibitions at Themes and Projects Gallery in
San Francisco and Lois Lambert Gallery in Santa
Monica. Her work has been shown in selected
group exhibitions such as the LA Art Show, Fuller
Craft Museum, Neutra Institute Museum, Center for
Photographic Art, Colburn School of Music, Brand
Gallery, and Shipka Gallery in Bulgaria and many
others. Charlotte is based in Los Angeles, and
her work is represented by Themes and Projects
Gallery, San Francisco.
Living mostly in Europe, CLUCA has strong
connections with Quebec and especially Montreal,
where she regularly visits after years of living there.
Her work has been presented in group and solo
exhibitions in galleries, fairs, and art centers in
Montreal (QC), Toronto (CA), Ottawa (CA), New
York (USA), Hamburg (DE), Turin (IT), and Avignon
(FR). Among the most recent group exhibitions, she
exhibited in Quebec at the invitation of Agrégat Art
Centre (2023) and at the Museum of Fine Arts in
Montreal (2022), both curated by Stanley Février,
with whom she has been collaborating as a duo
(moimoi) since 2011. Her work is based on her
social (working class), ethnic (Franco-Spanish), and
gender (she/her) origins, along with her academic
background in ethnology/sociology and art. In order
to further connect with her matrilineal lineage, she
has adopted her maternal grandmother’s name to
become: → Carmen Lucas → C. Lucas → CLUCA.
Her art practice is characterized by a transversal use
of materials including oil paint, drawing, language,
and textiles (thread, tufting, collage, etc.). Drawing
from public and family archives, as well as found
and altered photographs, informs the formal and
conceptual composition of her works. With research
and creation central to her interdisciplinary practice,
she navigates through various mediums to achieve
results.
A Social Communicator from the School of
Communication Mónica Herrera in Chile, Graduate
in Visual Arts from the Finis Terrae University in
Chile, and holder of a diploma in Anthropology
of Art from the Transdisciplinary Research and
Reinvention Laboratory LATIR, in Mexico City. He
has been awarded a scholarship three times by
the Ministry of Cultures, Arts and Heritage of the
Government of Chile. His work is part of the Luciano
Benetton collection in Italy, Windsor & Newton in
Chile, Compañía de Cervecerías Unidas CCU in
Chile, the Museum of Contemporary Art of Santa
Cruz in Bolivia, the Museum of Modern Art of Chiloé
in Chile, the Ca.Sa Collection in Chile, the Antonio
Miraldi Collection in Spain, the Under Armour
Collection in Panama, and The Palmer Museum of
Art at The Pennsylvania State University, donated
by Kahren & Michael Arbitman. His works have been
exhibited in the context of festivals and biennials
in the Netherlands, Denmark, Belgium, Germany,
Colombia, USA, Ecuador, Italy, Spain, France, and
Mexico. He recently participated in a relational work
in public spaces in Mexico, financed by the Ministry
of Culture and the Arts of the Government of Chile,
in conjunction with Mexican institutions such as the
Institute of Fine Arts in SMA, El Eco Experimental
Museum, and the National Museum of World
Cultures in CDMX. In 2017, he carried out a project
at the National Museum of Fine Arts in the Earth
Movements exhibition, participated in the Maco fair
in Mexico, and was part of the Textile Biennial in The
Hague, Netherlands.
158

DAN CHARBONNET
Lives in the USA
DANIELA VIGNOLI
Lives in Brazil
DAWN ERTL
Lives in the USA
DENISE BLANCHARD
Lives in Chile
INSTAGRAM: @charbonnet.dan
WEBSITE: dancharbonnet.com
INSTAGRAM: @danivignoli
WEBSITE: danielavignoli.com
INSTAGRAM: @dawn__ertl
WEBSITE: dawnertl.art
INSTAGRAM: @deniseblanchard
WEBSITE: deniseblanchard.cl
Dan Charbonnet is a Louisiana native and graduate
of the University of New Orleans, where he received
a Master of Fine Arts in Painting. His works are in
museums and private collections across the country,
including the New Orleans Museum of Art and
the Whitney Museum of American Art. He is a cofounder
of the Good Children Gallery artist collective
in New Orleans. His recent exhibitions include
“Construction on the Neutral Ground” at the Beatrice
M. Haggerty Gallery, University of Dallas, and “Fire
in the Evening” at the Anna Lamar Switzer Center
for Visual Arts, Pensacola State University.
Dan Charbonnet is a man who appreciates his
mother with endless dedication; a man who can
reminisce in his memories with visceral clarity; a
man whose passion for justice and politics is equal
to his passion for gardening and bird-watching;
a man who soaks up the world around him like
a sponge. He’s also a Virgo, his favorite color is
orange, and sometimes during the golden hour of
dusk you can catch him standing in the backyard
with a glass of wine simply admiring his many
plants. Every aspect of Dan’s life is lived with a
calm intensity that is hard to match, and his art is
no different.
Daniela Vignoli is a photographer and visual
artist, whose main language and support for
textile interference is photography. Her poetry and
research focus on resilience, human strength, and
the immense universe that is the other. Something
that also informs her extensive work as a social
entrepreneur. She is the creator, founder, and
coordinator of a crafts training school that has been
working since 2018, helping women in vulnerable
situations. There are more than 200 residents of
the Rocinha community, the second-largest favela
in Latin America, who receive free embroidery,
crochet, and sewing classes as a way of supporting
themselves, improving their financial situations, and
emotional stability. This parallel work is an extension
of her art of transforming lives, her greatest
existential purpose. In her authorial projects, her
guiding thread is a humanist look at reality, with her
deep discomfort with the ineffectiveness of Brazilian
political authorities, mainly. She seeks to overlay
realities with embroidery, always bringing the beauty
of internal strength. She studied at the Parque
Lage School of Visual Arts with Walter Firmo,
Clarissa Diniz, Brígida Baltar, Luiza Baldan, and
Charles Watson as some of her mentors. She won
several awards in Brazil, including 1st place at the
Cannon Award – Beleza Urbana and at the Salão
Internacional de Vinhedo, being also a finalist for the
international Boynes Emerging Artist Award, as well
as an honorable mention at the New York Center
Photographic Art.
Dawn Ertl is an artist born in the San Fernando
Valley in Los Angeles but has lived in many different
parts of the state. Her experience of constantly
moving while growing up between rural areas and
cities affected how she interacted with others. She
feels connected and disconnected simultaneously,
allowing her to step back and view relationships
and environments from a distance, even while
being part of it. She works hard to form and sustain
long-lasting relationships to cultivate and protect
her curated communities. At the same time, she is
comfortable being alone. In solitude, she finds other
ways to connect through research and planning. The
same perspectives that have drawn her to art have
pulled her closer to social practices and fiber-based
techniques, especially weaving, establishing a
foundational structure while continuously supporting
exploration and testing its stability. Both genres rely
on physical and mental interconnections to make
them stronger and long-lasting.
Dawn has exhibited her work throughout the United
States at various galleries, including Four Fourteen,
William Blizard Gallery, Seaver Gallery, Tiger
Strikes Asteroid, Los Angeles (TSA LA), South Bay
Contemporary, The Arcade, The Manhattan Beach
Art Center, El Camino Community College, Los
Angeles Municipal Art Gallery, Boston Court, as well
as the Cerritos College Art Gallery.
Denise Blanchard, a Chilean visual artist and
educator, born in Viña del Mar and currently residing
in Santiago, holds a Fine Arts degree from the
Pontificia Catholic University. Her visually captivating
textile works have graced prestigious events
globally, including SOFA Chicago, Iberoamerican
Textile Network, and World Textile Art exhibitions.
Denise’s art finds a place in renowned hotels
and international art fairs like FILSA in Brazil
and CHACO in Santiago. Notably featured on
Hidden-heroes.net from Vitra Design in Germany,
her work extends to collective exhibitions in Chile
and abroad, such as “País Sonhado” in São
Paulo and “Ultravioleta Chant sur toile” in Paris.
She held a solo exhibition at Galería Arte Isabel
Aninat in Santiago, “Trayecto” at the Artisan
Museun of Linares, “Habito” at the Centro Cultural
Montecarmelo, and ‘Grafema, her latest solo
exhibition, at NAC gallery in Santiago.
Denise Blanchard’s artistic journey includes
accolades like the 1st prize in the National Painting
ENTEL Contest (1990), recognition in the 5th Marco
Bonta Painting Contest (2003), and the 3rd prize “Un
Mundo habitable Huidobro” Painting Contest (2004).
Her recent achievement is the PAM prize for women
art recognition. Since 2014, she has been a vital
member of the collective ARSFACTUS, contributing
to impactful projects like “Arslibris” for the Gabriela
Mistral Foundation and engaging in residencies in
Santiago and Los Vilos, Chile. Denise continues to
shape the art world, exploring new creative avenues
and leaving an indelible mark on the global artistic
landscape.
EILEEN BRAUN
Lives in the USA
ERIK BERGRIN
Lives in the USA
ESTEFANÍA TARUD KARL
Lives in Chile
EVA ALVOR
Lives in Ukraine
INSTAGRAM: @eileenbraunart
WEBSITE: eileenbraun.art
Working from her Atlanta studio, Ms. Braun is
nationally recognized for her explorations of
traditional art materials: porcelain, rattan reed,
encaustic wax, fiber, and 14K gold gilding, paired
in uncommon sculptural applications. Her large
skeletal constructions of rattan reed are coated in
construction-grade rubber. The artist’s limited series
finger-knitted wall tapestries, made of factory discard
dressmakers’ tissue, are gilded in 14K gold. These
unexpected mergers of material result in sculpture
infused with personality and movement. Braun
notes, “In my studio, I have empowered myself to
experiment with materials emancipated from their
traditional applications.” Braun received a BA in
Sculpture and Art Education from Indiana University.
Her work has appeared in numerous museum
exhibitions including the Ogden Museum of
Southern Art (LA), San Angelo Museum of Art (TX),
MESA Contemporary Arts Museum (AZ), Houston
Center for Contemporary Craft (TX), Museum of
Fine Arts Boston (MA), Museum of Contemporary
Art Georgia (GA), American Museum of Ceramic Art
(CA), and Hunterdon Art Museum, Spring 2024 (NJ).
In 2014 and 2015, she received NICHE Awards
for her ceramic fabrications. Braun’s work is in the
collections of VISA Corp., Kamm, Meditech, Sara &
Bill Morgan, and Arthur Goldberg. Braun’s ceramic
work is in Lark Books’ “500 Teapots II”. Braun’s
sculptures are currently being acquired by the
hospitality sector in addition to private collectors.
She has participated in two Hartsfield-Jackson
International Airport exhibitions: “Ceramix: Georgia’s
Creative Claymakers” (2015-16) and E-Merge:
“Contemporary Atlanta Artists” (2013-14).
Links to more detailed information:
https://zoneonearts.com.au/eileen-braun/
https://www.youtube.com/watch?v=1DO2sDMH4_0
https://www.youtube.com/watch?v=dnvQEUDeVOA
https://www.youtube.com/watch?v=1DO2sDMH4_0
INSTAGRAM: @ErikBergrin
WEBSITE: erikbergrin.com/home.html
Erik Bergrin is a fiber artist based in NYC, who fuses
ancient and contemporary fiber techniques in works
that alchemize psychological shadows into creative
freedom. The artist draws on his background in
costume design, as well as a study in meditation
and the investigation of the mind to make the
work. This work has been featured in galleries and
museums such as Marlborough Contemporary,
Sotheby’s Gallery and auction, The State Historical
Museum in Moscow, the Morris Museum, The
Bakrushian Museum Moscow, The Society of Arts
and Crafts Boston, Fierman Gallery NYC, Zaz10
gallery NYC, and more. His art videos have been
featured on the big LED screens in Times Sq for a
4-week run, NYShorts Film Festival NYC, Bergen
Kunsthall Norway, A Shaded View on Fashion
Film Festival in Paris, Here Arts Center, USITT
Prague Biannual, and won the best in film award
at the FashionClash Festival in the Netherlands.
He has designed costumes for shows and movies
such as, “A Wounded fawn,” on Shudder, John
Cameron Mitchell’s,”Origin of Love tour, “Goodbar,”
at the Public theater. Erik’s creations have been in
publications such as Dazed and Confused, Zink,
NYTimes, ODDA, Iris Covet Book, L’Official, Schon,
NY Mag, King Kong, NYMAG, and many more.
INSTAGRAM: @estefaniatarud
WEBSITE: estefaniatarud.com
Estefanía was born in Puerto Varas, Chile (1982).
She studied Art in Santiago, Chile, where she lives
and works. As an artist, she fluctuates between the
craft world and the arts, fascinated by this duality.
She has always been searching for an important
subject to make an impact and learned many
techniques while trying to find a special story to
tell. Luckily, in 2020, she realized that her main
reflections are linked to the domestic world and
everyday actions. In this context, embroidering
has become not only a suitable technique for her
creative production but also a new part of her
routine. She has participated in various group and
individual exhibitions both in Chile and abroad:
the “BIEN 2023 Textile Art Biennial” in Slovenia,
the group exhibition “Tres Formas de Luz” at the
Artespacio Gallery in Santiago de Chile, and the
international exhibition “Textil Award 2023” in
London, England. She has also received awards
and recognition: An Honorable Mention at the
Contextile 2022 Biennial, Guimaraes, Portugal,
1st place in the Art contest of the Municipality of
Lo Barnechea, in Santiago de Chile, 2nd place
in the embroidery contest “Hand and Lock The
Prize” 2021, and 1st place in FAXXI 2022, Santiago
de Chile. At this moment, she is working on an
individual exhibition for the Montecarmelo Cultural
Center in Providencia, Santiago de Chile.
INSTAGRAM: @eva.alvor
Eva Alvor was born in 1983 in Ukraine. From 1997
to 2001, she studied at Khmelnytsky School of Art.
From 2001 to 2006, she attended Khmelnytsky
National University, Faculty of Design, from
which she graduated with honors. From 2007 to
2012, she worked as a designer in an advertising
agency, then as a 2D graphics artist in the game
industry in Kyiv. From 2013 to 2017, she worked
as a freelance artist, creating watercolor botanical
illustrations and traditional art. Since 2019, she has
been participating in exhibitions, creating works in
the genre of contemporary painting and graphics,
working with textiles, embroidery, and creating
costume designs for theater actors.
159

FOJE
Lives in Iran
FRANZISKA WARZOG
Lives in Germany
GIAN PADILLA SUAREZ
Lives in Spain
GUACOLDA
Lives in France
INSTAGRAM: @__foje__
Fooziyeh Foroodnia (b. 1988, Kerman, Iran) is an
Iranian artist, designer, and the founder of
Foje (2011), a clothing workshop and brand that
focuses on research-based, sustainable, and
culturally-inspired clothing design. With a
background in graphic design, illustration, and art,
Fooziyeh has created over twenty collections and
collaborated with other designers, artists,
and artisans. Her perspective on clothing is
expressive and romantic and challenges societal
norms through her inner emotions and individuality
in her designs. Her work explores the
concern of identity and aims to bridge
communication and dialogue through fashion.
Recently, she has delved deeper into her personal
narratives and natural aesthetics,
questioning constructs of identity, gender, and
artificiality. Fooziyeh continues to develop
her practice in Kerman, Iran. Fooziyeh has
extensively worked with artists and designers,
exhibiting collaborative projects and designs. She
has been chosen as a fashion designer for
the Fashion Revolution event and a volunteer
member of Fashion Revolution Iran since 2020.
Last year, (Iran and Berlin’s Collaborative Fashion
Revolution international event, held in
Berlin) she directed a multipurpose collaborative
project “The Mammals” (unleashing
women-empowerment) with Golestan National Park,
to aware Turkmen women artisans of
their impressive role in keeping the balance of the
circle of wildlife and reducing the level of
hunting, just by participating in their life expenses
through their cultural arts and crafts.
INSTAGRAM: @franziska_wzg
WEBSITE: franziska-warzog.de
Franziska Warzog, née Cohnen, was born in 1966
as the daughter of an artist couple in Amsterdam.
Since 1973, she has lived in Holzminden, where
she spent her school years. Then she studied
Ethnology and German language 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 has lived
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
took part in many exhibitions of the “Kunstkreis
Holzminden” and in the “Niedersächsische
Graphiktriennale” 2005 in Bevern Castle. She
exhibited some of her first textile sculptures at the
“Museum im Schloss, Bad Pyrmont,” also in 2005,
and was a participant in the exhibition “Till forever” in
Celle at the “Bomann und Kunstmuseum” in 2007.
She interrupted her work as a visual artist for several
years to write a Coming of Age novel (“Sieben
Monate im Tagebuch einer Jugendlichen”), which
she published in 2015 and a second time in 2016.
Now Franziska Warzog exclusively creates
three-dimensional textile sculptures, the work she
loves most.
INSTAGRAM: @gianpadillasuarez
Gian Padilla Suarez is a clothing designer and
textile artist. Gian is the clothing designer behind
G.I.A.N, a brand that focuses on timeless fashion
and celebrates women’s freedom with garments
ethically made in Honduras from unused European
fabrics. She lives and works between Barcelona
and Tegucigalpa. In Barcelona, she has also set
up the Studio M41 space, open to textile artists for
the creation, experimentation, and development of
ideas, as well as an exhibition space. Additionally,
she dedicates herself to weaving and creating
artistic pieces in the Teranyina workshop, where
she learned the art of weaving. Her first series,
“Improvisations,” was selected for the FAD Art
Awards and exhibited in the exhibition “The Best
Design of the Year” at the Design Museum in
Barcelona in 2021. Last year, her collaboration
with Nanimarquina was showcased in the pavilion
at Milan Design Week. This collaboration featured
a wall tapestry from the “Improvisations” series. In
2023, she fused fashion and textiles, creating the
series “Mis manos, Nuestras Manos”. This series
of garments was made closely with Honduran
seamstresses, and panels were woven in Barcelona.
She has participated in various group exhibitions
in Barcelona at her space, Studio M41, where she
hosts various exhibitions with various artists from
textiles to ceramics.
INSTAGRAM: @guacolda
WEBSITE: fiberartfever.com/artiste/guacolda
A French artist born in 1967 in Chile, but to French
parents, her (real) name, Guacolda, is that of a
legendary Indian princess, which deeply influences
her artistic work. From classic painting to neopop
art, the common thread in all of Guacolda’s artworks,
including engravings, paintings, videos, and
drawings, is the line, connecting them. In her works,
the line serves as a “link,” “footprint,” or “vibration,”
generating unexpected events and weaving sense.
As a transdisciplinary artist, Guacolda graduated
from the Ecole Supérieure des Beaux-Arts in Paris
and the Fine Arts of Barcelona. Her works are part
of many private and public collections, and she
regularly receives invitations to artist residencies
(Tokyo, Lisbon, Lebanon, etc.). She has embraced
various mediums, including painting, engraving,
photography, and finally embroidery, which she
continues to confront and reinvent. Her 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.
HELENA WADSLEY
Lives in Canada
HENRIQUE VAN PUTTEN
Lives in The Netherlands
INGER ODGAARD
Lives in Denmark
IRA RZ
Lives in Bulgaria
INSTAGRAM: @helenawadsley
WEBSITE: helenawadsley.com
INSTAGRAM: @henrique_van_putten
WEBSITE: henriquevanputten.nl
INSTAGRAM: @inger.odgaard
WEBSITE: ingerodgaard.com
INSTAGRAM: @irarz.art
WEBSITE: irarzart.wixsite.com/irarz
Helena Wadsley is a British Columbia, Canadabased
artist whose practice involves textiles,
drawing, and video. She has a BFA in Art History
and a Diploma in Studio. She has an MFA in
Painting but considers herself a multidisciplinary
artist, embracing the passed-down knowledge
and skills associated with needle-based work that
connect with heritage rather than with institutional
learning. Her work considers knowledge systems
such as science and literature to identify entrenched
attitudes about gender that marginalize the ‘other’
while using craft techniques as a way of drawing
traditional women’s labor into the vernacular
of contemporary art. She has participated in
residencies in Iceland, Finland, Norway, Italy,
Portugal, Germany, Morocco, the Dominican
Republic, and the Yukon. Her work has been
exhibited on five continents, and recently in France,
Latvia, London, UK, Glasgow, New York, New
Jersey, Chicago, Orlando, Korea, Greece, and
Canada. In 2023, she was a recipient of a Canada
Council research and creation grant and a travel
grant. She teaches painting, drawing, and textiles
at Langara College and Emily Carr University of
Art and Design in Vancouver and is a freelance
writer for such publications as Galleries West and
Montecristo magazines. She lives in the forest by
the sea on the Sunshine Coast, near Vancouver.
Henrique van Putten (1977, Nijkerkerveen) is a
visual artist who lives and works in Gouda, the
Netherlands. She studied sculpture at the art
Academy ‘Hogeschool voor de Kunsten Contantijn
Huygens’ in Kampen and graduated in 1999 with
textile sculptures and drawings. Van Putten’s work
has been exhibited ever since in many different
places (museums, galleries and artinstitutions) in the
Netherlands, is represented in both private and
corporate collections, and in 2021 she has also
been commissioned for a work of art in public space.
In the summer of 2023, van Putten had a major solo
exhibition, ‘The Blind Faith’, at the Natural History
Museum in Rotterdam. Additionally, the artwork ‘We
Blindly Trust What We Know’ was chosen from more
than 600 entries for the online exhibition ‘Exodus’ of
the Biblical Museum and Buitenplaats Doornenburg,
and a nice article about her work, ‘Life as a Fable,’
was published in the art magazine TextilePlus in the
autumn of 2023.
Inger Odgaard, a visual artist, was born in Thy in
1967. She started early and could knit before she
went to school. The tradition of knitting and using
her hands has been her path into an independent
artistic field, in which she has been continuously
expanding after a period of painting. In 2016,
she showed a series of knitting paintings and
sculptures in several exhibitions. At Knitwork#16 in
Copenhagen, she presented the installation Mormor
in Guld, a tribute to the knitting, crocheting, and
embroidering women in multiple generations who
have passed on the textile craft. Since then, her
improvised knitting has taken off. Inger Odgaard
transposes the classic craft into artistic, freely
worked objects. Her works are increasingly moving
down from the wall and into space as figures,
becoming increasingly independent individuals.
The surfaces have changed from the raw textile
expression of yarn to encased in layers of structure
paste, layers of skin, as she puts it. A process where
layers of lacquer, color, and metals are used to give
the works expression. The metallic corrosion gives
the exterior a new expression and colors of the
inner layers are exposed by cracks from within. In
interaction with the form, an aesthetically new depth
is added. There occurs a metaphysical individuation
process and the works acquire their own inner life.
Ira RZ, a Bulgarian-born textile artist, possesses
a unique artistic voice that seamlessly fuses both
traditional and digital mediums. In May of 2021, she
graduated with a double major Bachelor’s degree in
Textile Art and Design from the National Academy
of Arts in Sofia, Bulgaria. She further advanced
her expertise with a Master’s in Textile Design
from the same institution. Ira RZ’s artistic journey
has been marked by recognition, having exhibited
works through the Union of the Bulgarian Artists.
Her portfolio reflects a deep passion for creative
expression, capturing the essence of diverse
inspirations drawn from everyday encounters,
personal experiences, the beauty of nature, and
the richness of human connections. In the dynamic
landscape of the art world, Ira RZ stands out for her
innovative approach to visual storytelling. Her work
is a celebration of the intricate interplay between
tradition and modernity, captivating audiences with
a harmonious blend of these two worlds. As a textile
artist, she has not only mastered the technical
intricacies of her craft but also developed a keen
sensitivity to the narratives embedded in textures
and colors. Ira RZ continues to push the boundaries
of her artistic practice, leaving an indelible mark on
the ever-evolving tapestry of contemporary art.
160

ITAMAR YEHIEL
Lives in Germany
JAY LEE
Lives in South Korea
JENNA MANZANO
Lives in the USA
JOEDY MARINS
Lives in Brazil
INSTAGRAM: @sculptural.embroidery
WEBSITE: itamar-y.art
INSTAGRAM: @jay.art.making
WEBSITE: whywhatmatters.com
INSTAGRAM: @jenna.manzano
WEBSITE: jennamanzano.com
INSTAGRAM: @joedymarins
WEBSITE: joedymarins.com
Itamar Yehiel is a Berlin-based artist who works
and develops the medium of Sculptural Embroidery.
Itamar has been awarded the 3rd prize for Applied
Arts at Zeughausmesse Berlin 2023. He was a
Finalist in The Berlin State Prize for Creative Crafts
2022 and exhibited in a group exhibition “Four
elements - craftsmanship and design from Paris
and Berlin”, Museum of Decorative Arts, April 2023,
Berlin. Itamar has been an active participant in
numerous group exhibitions, textile biennales, and
art fairs since 2021.
Jay Lee is a multidisciplinary nomad artist
whose distinctive work spans painting, ceramics,
and installation art. Her practice, marked by a
commitment to exploring new artistic terrains, has
led her to international acclaim and a series of
notable exhibitions. One of the highlights of her
career is the solo exhibition “<Dreams>” at KOIK
Contemporary in Mexico City. This show, featuring
an immersive installation of paintings, ceramics, and
flowers, showcased Jay’s talent for integrating varied
artistic mediums. Her ability to create a cohesive
narrative through diverse forms is a testament to her
innovative spirit. Jay’s international presence was
significantly bolstered by her participation in “<ARTE
LOCAL: casa de la cultural tulum>” in Tulum,
Mexico, and her acclaimed solo exhibition “<Home
of Emotions; Moving Home, Moving Emotions>”
at El Sur in Mexico City. These exhibitions not
only displayed her adaptability as an artist but
also her capacity to resonate with different cultural
settings. Her residency at the PILOTENKUECHE
international Art Program in Leipzig culminated
in the group show “<Say - Sweet, Silent>” at Alte
Handelsschule, a significant finale to her intensive
creative exploration during the residency. Through
residencies at KOIK Contemporary, El Sur,
PILOTENKUECHE, a Position on Retreat, and now
at Uncool Artist, Jay Lee continues to broaden her
artistic scope, establishing herself as a dynamic and
innovative figure in the contemporary art scene.
Jenna Manzano is a multidisciplinary artist creating
sculpture, assemblage, and drawings in fiber, paper,
found objects, and pigment. After growing up in the
San Francisco Bay Area, she earned a Bachelor of
Arts in literature from the University of California,
Berkeley, and a Master of Fine Arts in poetics
from Mills College in Oakland. After graduating
from Mills, she continued to make work and teach
workshops in the Book Art studio in both letterpress
printing and book binding techniques. With this
background in printmaking, typography, and formal
layout, she continued her studies and spent a
decade freelancing in graphic design with a focus
on brand consistency for small local businesses.
She dedicated herself more fully to studio work
starting in 2021. Jenna brings this uniquely blended
background — the metaphorical, conceptual
process of experimental poetics coupled with a
distinct attention to streamlined formal composition
of design — to her current studio practice. Pulling
inspiration from the postminimalist object, the
time-intensive and repetitive nature of her larger
sculpture is balanced by a regular practice of ink
drawings and smaller studio works. Meticulous
hand-making together with quietly monochromatic
composition conveys a deep sense of emotional
space and connection over a direct statement of
meaning or message. Jenna currently lives and
works in Oakland, California. She shares thoughts
on creativity and studio practice in her Substack
newsletter, I Made a Nothing.
Joedy Marins was born in Brazil in 1971. She has
a post-doctoral degree in Painting from the Faculty
of Fine Arts of the University of Lisbon (Research
Grant from abroad - FAPESP), Lisbon, Portugal
(2020). She earned her PhD in Communication
Sciences (CAPES grant) from ECA/USP, São
Paulo, Brazil (2004). She holds a Master’s degree
in Communication and Visual Poetics from FAAC-
UNESP, Bauru, Brazil (1998). She holds a Bachelor
of Fine Arts from Universidade Presbiteriana
Mackenzie, São Paulo, Brazil (1991). She is a
Professor at the State University of São Paulo,
Brazil, and is the leader of grAVA – Group of Poetic
Research in Visual Arts. During her post-doctoral
studies in 2017, she investigated the processes and
limits of materiality in textile art. In 2018, she was
selected as a resident artist at the 4th Contextile –
Contemporary Textile Art Biennial, producing works
in Jacquard at Indústria Sampedro. In 2019, she
participated in the VIII Biennial of Contemporary
Textile Art – WTA, in Madrid. In 2021 and 2022, she
received mentions at the XXIV and XXV Salons
de Minitextil do CAAT, Argentina. In 2022, she
participated in the exhibition Rosa Alchemia Mini
Artextil, in Como, Italy. Also in 2022, she participated
as a guest in the Exhibition “Thread by Thread:
Brazilian textile heritage - 22 to 22”, as part of the
program of the 25 Years of WTA. She has exhibited
in Portugal, Spain, Italy, Mexico, Chile, Argentina,
and in several Brazilian states. She has works in
institutional collections in Brazil, Italy, and Portugal.
KARINA WALTER
Lives in the USA
KATE V M SYLVESTER
Lives in Australia
KATHARINA GAHLERT
Lives in Germany
KATHARINA KRENKEL
Lives in Germany
INSTAGRAM: @eve_on_the_couch
WEBSITE: karinawalter.wixsite.com/artist
INSTAGRAM: @k_v_m_s
WEBSITE:katevmsylvester.com
INSTAGRAM: @kalypsi_gahlo
WEBSITE: katharinagahlert.de
INSTAGRAM: @kittys_fuzzy_world
WEBSITE: katharina-krenkel.de
Karina Walter is a Brazilian multidisciplinary
artist who has been living in the USA since 2018.
Periodically, she travels back to Sao Paulo where
she has had a studio since 2023 enabling her to
work from both countries. She hovers between
two-dimensional and three-dimensional works and
explores a variety of techniques, including collage,
assemblage, installation, and sculpture. She uses
non-artistic materials and feminine-related objects to
delve into the layers within women’s culture.
She received her degree in Industrial Pharmacy
in 2000, earned a Master’s in Marketing in 2005,
and began a second Master’s in Semiotics in 2010
but did not finish it. In 2011, she moved to Spain
and studied Photography at Centro Internacional
de Fotografía y Cine in Madrid. She also lived in
Germany for two years. After returning to Brazil in
2015, she worked as a photographer and took a
collage course at the Tomie Ohtake Institute in Sao
Paulo. Her work has been shown internationally
in group exhibitions in Brazil, Mexico, Slovenia,
Spain, London, and the USA. She also has her work
published in British and American fanzines. In 2024,
she received a HUG grant from Charlotte is Creative
(USA), and will have one of her most recent works
shown at a group exhibition in March this year in
Chicago.
Sylvester is a Perth-born artist now living and
working in Portarlington, Victoria. She undertook
a Bachelor of Fine Arts, Painting, at the Victorian
College of Arts in 2014 and completed a Bachelor of
Arts, majoring in Art History, at La Trobe University
in 2005. Sylvester has been selected as a finalist
for several award exhibitions, including the We the
Makers Sustainable Fashion Prize at the National
Wool Museum in 2023, the Yering Station Sculpture
Award Exhibition in 2022, the Emerging Artist Award
at 45downstairs in 2021, and the Scenic World
Sculpture Show in the Blue Mountains in 2019. She
has exhibited as part of the Melbourne Fashion
Festival Cultural Program, had a solo exhibition in
2017 at Tinning Street Presents, and participated in
a multi-gallery group show titled Fabrik: conceptual,
minimalist, and performative approaches to textile
in 2016, with works on display at the Ian Potter
Museum of Art and at the Margaret Lawrence
Gallery. Her work was selected by Craft Victoria for
their 21st annual graduation show, Fresh! 2015. She
was also chosen as part of the Alliance Françoise
graduation award exhibition in Melbourne in 2015.
Her 2014 solo exhibition, KVMS Retrospect, was
held at 69 Smith Street Gallery, where she served
as Gallery Coordinator and board member for
2014. Sylvester founded a home-based gallery
initiative, At Kate’s Place, in 2012. She has curated
and exhibited in several group exhibitions from her
house in Coburg, and she curated an installation
group show titled Bluestone at the Living Museum of
the West in Maribyrnong in 2015.
Katharina Gahlert was born in 1986 in Annaberg-
Buchholz, a rural area in the former German
Democratic Republic (GDR). She studied Painting/
Textile Arts and Jewelry Art at Burg Giebichenstein
University of Art and Design in Halle, after obtaining
a B.A. in Art Education from the University of
Leipzig. Her diploma was awarded the main prize
by the Saalesparkasse Foundation in 2021. Since
then, she has received numerous scholarships and
awards, such as the Kickstarter Scholarship from the
Kunstfonds Bonn Foundation, a working scholarship
from the Art Foundation of the State of Saxony-
Anhalt, and the Kloster Bergesche Foundation, as
well as the prestigious residency scholarship for
sculptresses with children at Künstlergut Prösitz
in 2022. This year she was nominated for the
Bernhard-August-von-Lindenau-Award 2024, which
honors outstanding artistic positions of emerging
artists from the Central German region. Her works
have been exhibited in numerous exhibitions
throughout Germany, for example, in Gallery Paul
Scherzer, Pinakothek der Moderne in Munich, a&o
Kunsthalle Leipzig, Hallescher Kunstverein, as well
as in many offspace galleries. In addition to her own
artistic practice, she is active as a lecturer, workshop
leader, and in art mediation. She lives and works
with her family of four in Halle an der Saale.
She was born in Buenos Aires in 1966 and raised
in Stuttgart, Germany. From 1987 to 1993, she
attended the academy of fine arts in Saarbrücken,
where she pursued interdisciplinary studies in arts
and design. Since 1993, she has been working as
a freelance artist and has been living in the region
of Saarland, Germany, in the border triangle of
France, Luxembourg, and Germany. Exhibition
Selection from the last year includes: XS-Project
at ArteMorbida Space, Arte Fiera Bergamo/
Gina Morandini Contemporary Textile Art Gallery,
Maniago (Italy). Artist in Residence at Schlachthof
Sigmaringen. Ein Roter Faden - Textile Paths
in Art, Ausstellungshaus Spoerri, Hadersdorf
am Kamp (Austria). Stillleben at Kunstverein
Norden. prINT at Mainzer Kunstverein. Klein
und Farblos at Umspannwerk, Ludwigshafen.
SaarART at Städtische Galerie Neunkirchen.
Feminismo Sur a Norte at Museo de la Mujer,
Buenos Aires (Argentina). PFUI at Waschsalon,
Kassel. Pfannoptikum - The Rolling Museum at 3
different stations (Neunkirchen/Saar, Baiersbronn,
Bad Orb). Siegburg Sichten, one week on the
tower of Michealsberg as city artist. Drops in the
Glasshouse at Kunstkiosk, Stadtmuseum Siegburg.
Soft City at Johannstadt, Dresden. “Secret Night”
and “Viele Gründe” at Gallery Puzic, Saarbrücken.
SOS Wasser at Badehaus Maiersreuth. Wasser - a
growing and moving altar cloth (project since 2011),
Basilika Waldsassen, and church St. Laurentius,
Bad Neualbenreuth. Art meets Culinary Art at
Galerie Uli Lang, Traube Tonbach, Baiersbronn.
Salón Verde Textil: Genealogias del Verde at
Centro Argentino der Arte Textil, Buenos Aires,
and Fundacruz, Casa de la Cultura, Santa Cruz
(Argentina). Feminismo al Sur at REA, Regina
Espacio de Arte, Buenos Aires, San Isidro
(Argentina). Kunstankauf 2023 at Parliament of
Saarland. Linocut today at Kunstmuseum Bayreuth.
161

KATHERINE DANIELS
Lives in the USA
KATHY LANDVOGT
Lives in Australia
KELLY LIMERICK
Lives in Singapore
LEISA RICH
Lives in Canada
INSTAGRAM: @katherindaniels
WEBSITE:katherinedaniels.com
INSTAGRAM: @kathylandvogt
WEBSITE: kathylandvogt.com
INSTAGRAM: @kllylmrck
WEBSITE: kllylmrck.com
INSTAGRAM: @monaleisa2
WEBSITE: monaleisa.com
Katherine Daniels creates beaded sculptures,
weavings, and site-specific installations. Her work
has been exhibited nationally and internationally,
including a solo exhibition at the Hunterdon Art
Museum and group exhibitions such as Bedazzled
at Lehman College Art Gallery, “I found myself”
at the African-American Museum in Philadelphia,
and “To Weave Dreams” at Miniartextil at the Le
Bellfroi Art Center in Montrouge, France. She
recently received a 2023 Artist Empowerment
Award presented by Evercore and the CUE Art
Foundation. Daniels has also been awarded a
Puffin Foundation Grant, a New York Foundation
for the Arts Fellowship in painting, the Clare Weiss
Emerging Artist Award for Public Art, and two Lower
Manhattan Cultural Council Manhattan Creative
Communities Grants. She was selected as a
participant in the AIM “Artist in the Marketplace”
program and exhibited in the 2011 exhibition
Bronx Calling: The First AIM Biennial at The Bronx
Museum of the Arts in New York City. Additionally,
she has received studio grants from the Marie Walsh
Sharpe Art Foundation, PS 122, the Henry Street
Settlement, and Chashama. Daniels earned a B.F.A.
from Rhode Island School of Design and an M.F.A.
from Northern Vermont State College in Vermont.
Born in Idar Oberstein, Germany, she was raised in
Huntington, West Virginia, and currently lives and
works in New York City.
Kathy Landvogt lives and works in the regional
town of Castlemaine (Australia), on unceded
Indigenous land originally inhabited by the Djarra
people. Having developed her visual art practice
alongside a career in social work, Kathy now
responds to human experience through the process
of making contemporary textiles and sculpture.
She knits and weaves wire, reworks found and
hoarded materials into assemblages, stitches fiber
and fabric, and experiments with mixed media.
Informed by feminist understandings and histories,
she allows the materials and process to carry
much of the story. In particular, she is drawn to the
properties of wire because, being metal, it generally
signifies toughness, yet it also sustains ‘soft’ textile
techniques such as knitting, looping, and stitching.
Kathy has a non-traditional art education, having
studied under a number of professional artists. Her
work has been shown in curated group exhibitions
and been selected as a finalist in the Experimental
Print Prize (2023) at the Castlemaine Art Museum
and the Wangaratta Miniature Textile Exhibition
(2022). It has been the ‘hero’ piece at Ballarat Craft
Lab in 2022 and received three awards in the 2023
Lot19 Spring Sculpture Prize. It has also recently
appeared in TxP magazine (Netherlands) and
Textile Forum magazine (Australia). Kathy continues
to develop her textile techniques to expand into
collaborations with other artists, installations, and
participatory experiences. Fundamentally, Kathy’s
practice peels back her own layered experience
and stretches understanding of her own historically
situated context.
Kelly Limerick is a textile artist who has been
crocheting and knitting since she was 7. With an
understanding of textiles as a ‘sympathetic medium’
encountered in daily life, her practice explores its
intrinsic ability to convey deep sentiments through
familiarity, both visual and tactile. Following her
graduation from Apparel Design at Temasek
Polytechnic (Singapore), Kelly started pursuing an
art practice focusing on textiles from 2014. In 2017,
she was commissioned by the National Heritage
Board (Singapore) to create three installations
across Singapore. This marked the start of her foray
into site-specific installations and public art. She was
an artist-in-residence in the Meta AIR Programme
at Meta APAC HQ in 2019 and had her first solo
presentation at Esplanade Singapore in 2020. In
2021, she created her first multimedia artwork for
the group exhibition Of Limits and further explored
that in her first solo show ‘Unbecoming’ at Cuturi
Gallery (Singapore) in 2022. She has been selected
for the #4 Objet Textile Biennale in Roubaix, France,
in February 2024. Today, her work ranges from
soft sculptures, textile hangings, and multimedia
installations. She has been commissioned by brands
like Bloomberg, LOUIS XIII, and Gucci, for which
she created their first in-store art wall display in
South Asia Pacific. She has also been profiled by
media such as Harper’s Bazaar (SG) and listed in
Prestige (SG)’s 40 under 40, as well as featured in
Singapore tourism campaigns representing the local
creative scene.
Leisa Rich is an experimental artist who transforms
common and alternative materials in unique ways,
utilizing fiber techniques that include free motion
stitching — a method of “painting” using thread on a
sewing machine — and 3D printing, laser engraving,
and more. Rich transforms these into pseudo-
Utopian environments that suspend reality; her
creations have a hyper-real quality and sometimes
invite and encourage interaction with the public. Her
destiny as a fiber artist began as a child; Leisa had
to run her blanket satin through her fingers from
one end to the other before she could fall asleep,
and she spent years in the hospital due to illness
and deafness, dressing her Barbie in clothes her
mother made. Tactile sensations were there even
when sound and humans were not. Rich holds MFA
Fibers, BFA Fibers, and BEd Art degrees. She has
exhibited in notable museums, in many galleries,
and has been featured in interviews. Her work is
published in over 30 books and publications. Leisa
published a children’s book in 2015 and a series
of How-To art books in 2019. Rich has taught art
for 48 years in many venues. Her work is in the
permanent collections of Delta Airlines Inc., Hilton
Hotels, Emory Healthcare, The Dallas Museum of
Art, and more, and in private. She is a 2019 recipient
of a Distinguished Fellowship: Fulton County
Arts Council, Georgia, and a finalist in the Umbra
competition in Toronto, 2022.
LENORE SOLMO
Lives in the USA
LINDA FRIEDMAN SCHMIDT
Lives in the USA
LUBA ZYGAREWICZ
Lives in the USA
LYNNE CHAPMAN
Lives in the UK
INSTAGRAM: @lenoresolmolifestyle
Lenore Solmo is a self-taught mixed media artist in
Brooklyn, NY, committed to creating art using found
objects, currently focusing on plastic bottles. After
a decades-long career in fashion accessories, in
2020, when the world appeared to stand still, Solmo
needed a creative challenge with more meaning
and started making art using found objects rescued
from the streets of NYC. Solmo is proud to represent
the USA in the 7th Edition of Art Connects Women
in Dubai in March 2024. A solo show of her work
to celebrate Earth Month 2024, “Through a Plastic
Lens: Upcycled art and objects made from what we
leave behind,” can be seen for the month of April
2024 at Compere Gallery in Red Hook, Brooklyn.
Solmo breathes new life into discarded materials
and invites viewers to question urban waste, food
packaging, and what we leave behind, relooking at
these things in unexpected ways and keeping them
out of the landfill for at least a little while longer.
Her future goal is to travel to other cities, states,
and countries, collecting, comparing, and creating
art from found objects in these new surroundings,
asking the question - How does what we leave
behind differ from city to city?
INSTAGRAM: @lindafriedmanschmidt
WEBSITE: lindafriedmanschmidt.com
Linda Friedman Schmidt is a self-taught artist born
in Germany and raised in the USA in Brooklyn,
New York. Formerly, she worked in the fashion
industry and owned an innovative New York City
boutique. Discarded clothing is her primary artistic
medium. She considers clothing to be the “second
skin,” the boundary between the inside and outside
of the body. She explores boundaries that create
distinctions between inside and outside, between
invisible and visible, between private and public,
between truth and illusion, between now and
then, and also between reason and thinking, and
insanity and madness. Her work has been curated
into numerous group exhibitions of textile art
and contemporary art in museums and galleries
throughout the USA, most notably in New York
City where she was awarded recognition by the
American Folk Art Museum. Internationally, her
art has been featured in Contextile Biennial of
Contemporary Textile Art, Guimarães, Portugal,
Every Woman Biennial, London, UK, Parque de la
Memoria, Buenos Aires, Argentina, and Mikimoto
Gallery, Tokyo, Japan, to name a few. She is the
recipient of multiple awards including a 2023 New
Jersey State Arts Council Individual Artist Fellowship
Award. Publications include multiple books and
magazines including Hyperallergic, Textiel Plus,
Mr. X Stitch, Interlocutor Magazine, Living Artists
Magazine, Maake Magazine. Her work is held in
various notable private collections.
INSTAGRAM: @lubazygarewicz
Luba Zygarewicz is a Chilean-Ukrainian
multidisciplinary artist and educator based in New
Orleans. She grew up in Bolivia and moved to San
Francisco at age 15. She attended San Francisco
Art Institute (MFA) and Loyola University (BA
Sculpture). Her work explores dichotomies through
mundane materials to create visual narratives and
anchor histories. She has exhibited nationally and
internationally including ‘OPEN Space’, Venice,
Italy; Ogden Museum and CAC in New Orleans;
City of Santa Rosa Public Art, CA; Mexican Cultural
Institute of New Orleans; and Women’s Gallery,
Chicago, IL. Some of her socially engaged public
art projects are ‘Sentinels’ in conjunction with
Tides Institute, Eastport, Maine: EPHEMERA
and Supernova at Laffite Greenway; ‘the HOPE
project’ at the ruins of Sãn Sebastião, Messejana,
Portugal; and OPEN DOORS’ at the March Against
Poverty, Lake Providence, LA. She has been
invited to residencies at The Hambidge Center,
StudioWorks at Tides Institute and Museum of Art,
Buinho Creative Hub in Portugal, and Chalk Hill
Artist Residency among others. Zygarewicz has
collaborated on various projects with the European
Cultural Academy in Venice, Italy, and has been a
member of Good Children Gallery since 2020.
INSTAGRAM: @lynnepencil
WEBSITE: lynnechapmantextiles.co.uk
Lynne Chapman is based in Sheffield and has
worked as a freelance visual artist for 38 years:
initially as a children’s book illustrator, then as a
research painter / urban sketcher. She has been
working as a fine artist since 2018, primarily
through hand-stitched textiles. Lynne has done
many art/science residencies and collaborations
with academia. She was awarded a year-long
Leverhulme Trust Residency to work with
sociologists at The Morgan Centre, University
of Manchester. She was invited to work with
psychologists in Perth, Australia, as part of a
2-month residency at UWA. She has worked with
researchers at York University on projects around
Cystic Fibrosis and Dementia. She has worked with
Nottingham and Sheffield Universities as part of Pint
of Science and Festival of the Mind.
Lynne has been commissioned to create 2 major
murals for Wakefield Children’s Libraries. Interviews
and work have appeared in films by Open College
of the Arts, Open College Network, Craftsy, and
Sketchbook Skool. Museums Sheffield awarded her
a month’s residency with a solo show at Orchard
Square in Sheffield. Lynne has led sketching and
illustration workshops across the UK, as well
as in the US, W. Australia, Brazil, Europe & the
Dominican Republic. Her book Sketching People
has 4 co-editions. She has works in various private
collections.
162

MAGALI WILENSKY
Lives in the USA
MALLORY ZONDAG
Lives in the USA
MARCELA DE LA VEGA
Lives in Chile
MARÍA ORTEGA
Lives in Spain
INSTAGRAM: @magaliwilensky_work
@lifeandmatter
WEBSITE: magaliwilensky.com
Magali Wilensky is an award-winning, New Yorkbased
multidisciplinary artist, healer, teacher, and
mother of two. Her work is owned by several private
collectors, including The Yuko Nii Foundation from
Wah Center (Williamsburg Art & Historic Center).
Magali moved from Argentina to Miami, Florida,
where she received a Bachelor’s in Fine Arts from
The Art Institute of Miami in 2006. There, she
developed her rolled fabric technique, which she
exhibited in galleries and other institutions in New
York, Miami, and Buenos Aires. In 2008, her art led
her into an inward journey, prompting her to study
more about the body, mind, and soul. She became
a massage therapist, a sound healer, a yoga and
meditation instructor, and used art to bring more
awareness to the self and the oneness of all. She
and her whole family founded and own a Wellness
Center called Om’echaye, where Magali teaches
all of these modalities and gives privates. Magali
moved to Brooklyn, NY, in 2013 to study and
graduated from Brooklyn College with a Masters in
Performance and Interactive Media Arts (PIMA). She
and her team created an interactive and durational
performance to encourage audiences to explore a
collective altered state of consciousness. Magali
created an art production company in Brooklyn
called Life & Matter, where she and her husband
presented art shows, performances, workshops,
and expressive art classes. Currently, Magali lives in
Brooklyn, where she exhibits work in galleries and
takes on commissions.
INSTAGRAM: @malloryzondag
WEBSITE: malloryzondag.com
Mallory Zondag is a mixed media fiber artist and arts
educator whose work has been exhibited in both
solo and group shows nationally and internationally.
She has been an Artist In Residence at Acadia
National Park, The Allentown Art Museum, The
Wassaic Project, and many schools and community
organizations. During many of these residencies,
she has led community art programs where felted
wool living walls are collaboratively created with
students of all ages and abilities, and the final
sculpture finds a permanent home within the school
or community space. She was commissioned to
create the sensory space for Artsquest’s Accessible
Arts program and was commissioned to create
a component of one of Amalia Mesa-Bains’s
installations for her retrospective at the Berkeley
Art Museum and Pacific Film Archive. In addition to
creating her own work, Mallory has worked in arts
education and community arts for the past 8 years.
She developed the community art program, Fiber
Living Wall, where she teaches a whole school how
to wet felt in order to create felted flowers, leaves,
rocks, and mushrooms, and then subsequently
pieces the students’ work together into a cohesive
living wall sculpture that is then installed at the
school. Mallory currently lives in New York, traveling
around the Northeast teaching workshops, leading
community art programs, and creating work in her
studio.
INSTAGRAM: @marceladelavega_cl
WEBSITE: marceladelavega.com
Marcela de la Vega (Chile, 1977) is a textile artist
who explores the mixture between several ancient
techniques (Chancay, Bojagi, basket weaving, loom,
and sewing techniques) using recycled cotton and
biomaterials made from algae, starch, and pectin.
Her learning in craft belongs to her family tradition.
Later, Marcela learned through live workshops with
local artisans from the Chilean Araucanian region.
In June 2023, she was selected as one of two
representatives of the Valparaíso Region for the
1st Artisan Women National Meeting ENMA 2023,
organized by the Chilean Ministry of Cultures, Arts,
and Heritage. Marcela has participated with solo
exhibitions at Centro Montecarmelo (2022) and at
the Museum of Art and Crafts of Linares (2023). She
was invited to “Cuerda Infinita” (group) at Palacio
Pereira (2023), curated by artist Catalina Bauer.
Marcela has obtained the National Fund for Culture
and the Arts (FONDART) in the Crafts Category
three times. Marcela has worked in design and
creation showcases for museums, museography,
interior design for shops, and art galleries. Marcela
has a degree in Education (UC, Chile) and Diploma
studies in Textile Creation and Surface Design (UC
School of Design, Chile). She attends workshops on
biomaterials at LAVBA (Chile) and with artist Laura
Messing (Argentina). She was the coordinator for
the art project “Proyecto Piloto”, in collaboration
with artist Vanessa Vasquez and curator Camila
Marambio (2007-2008). At this moment, Marcela is
presenting the exhibition “Paños de agua azul” (Blue
water cloths) at Centro Montecarmelo (Chile).
INSTAGRAM: @mariaortegalvez
WEBSITE: mariaortega.com
Graduating in Design from the Madrid School of
Design, she established her own Textile Design and
Art studio. She completed her Fine Arts degree at
the Art Blake School in London and a professional
artistic photography course at EFTI Madrid.
Additionally, she undertook a Cultural Management
Course at Rey Juan Carlos University of Madrid.
María Ortega’s artistic and professional career is
intertwined with Contemporary Textile Art or Fiber Art
and design, wherein she devotes considerable effort
to promoting and disseminating this movement.
She served as the General Director of the 8th
International Biennial of Contemporary Textile
Art WTA, Madrid Sustainable City 2019. She also
co-curated the 12th From Lausanne to Beijing
International Fiber Art Biennale and the X WTA
Biennial 25-years WTA in the USA, representing
Spain and fostering 14 country exhibitions. She has
curated 25 national and international exhibitions in
Madrid, including organizing events such as the 400
Years Spain-Japan, 100 years Spain/Latvia, and
Spain/Lithuania of Diplomatic Relations, shaping
their cultural programs. She has also served as
a juror for the Spanish National Fashion Design
Award by the Ministry of Culture, the 9th/11th
International Fiber Art Exhibition From Lausanne to
Beijing, Minartextil Borderline Como 2017, and as
an Ambassador of the Madrid Convention Bureau.
Additionally, she sits on the Board of Directors of
Mujeres en las Artes Visuales-MAV. As an artist,
she has participated in more than 100 exhibitions,
Biennials, and Triennials at the national and
international levels. Next project for 2024: Land and
Sea (50 years of Spain/China foreign relations), at
the China Cultural Center in Madrid.
MARIANNA MAGURUDUMIAN O’REILLY
Lives in Spain
MARIETA TONEVA
Lives in Sweden
MARIKO NAGAO
Lives in Japan
MIRIAM MEDREZ
Lives in Mexico
INSTAGRAM: @marianna_the_un
WEBSITE: theunstitute.org
INSTAGRAM: @marietatoneva_art
WEBSITE: marietatoneva.se
INSTAGRAM: @nagaomariko_artwork
WEBSITE: nagaomariko.wixsite.com/wolle
INSTAGRAM: @miriammedrez
WEBSITE: miriammedrez.com
Marianna Magurudumian-O’Reilly is of Armenian
descent. She studied art and architecture at the
Academy of Fine Arts in St Petersburg, Russia.
Having moved to the UK at the age of 19, she
studied painting at Brighton University, after which
she gained a Postgraduate Diploma in Fine Art
from The Academy of Arts in London. She has won
numerous awards and scholarships for her painting.
She has since exhibited widely internationally,
made sound compositions and experimental web
design, collaborated with her husband Daniel on
a number of independent films as an actress,
scriptwriter, editor, sound designer and earned
various Film and Video festival participations. Her
experimental, collaborative project, The Unstitute
(www.theunstitute.org), is an art laboratory,
independent online art gallery, and an experimental
digital architecture, for which she curated monthly
exhibitions, a zine, and projects hosting cutting-edge
video art from all over the world. After 15 years living
in London, in 2016, she moved with her family to
Catalonia where she has an art studio and is running
a small design practice. She is currently designing
and building an experimental exhibition and
residency space in rural Catalonia and developing
her first mixed media solo show taking place in May
2024, Spain.
Marieta Toneva (born 1968) has been working as
a professional artist for the past 30 years. She
graduated with an MFA in Textile Art from the
Fine Art Academy in Sofia, Bulgaria in 1992. Her
main genres are large-scale sculptural textiles,
enamels, and screen printing on various surfaces.
Some of her textile works have been published
in Mary Schoeser’s book: “Textiles: the Art of
Mankind” (Thames & Hudson), one of the most
influential books in the textile field. Marieta has
exhibited in Sweden, the United States, France,
Germany, Bulgaria, Italy, Spain, Hungary, and
Austria. Her art has been shown in more than 40
solo exhibitions, and she has participated in many
juried international exhibitions, as well as numerous
other group exhibitions. Her work can be found in
both public and private art collections. Throughout
the years, Marieta has received several artistic
grants and awards, such as the Swedish Art Grants
Committee’s and Women United Art Prize. Marieta
has also been commissioned for several public art
projects in Sweden. During the last few years, she
has developed a new method for the pigmentation
of enamel glazes, a process she documents in her
book “Färgsystem för emaljering”. Based in Sweden
since 1992.
Mariko Nagao (born 1985) graduated from Joshibi
University of Art and Design Junior College in 2009
and has been working as an artist in Japan. All of
the works are hand-spun and dyed, and each piece
is handmade, ranging from wall works to spatial
works.Since 2010, she has exhibited her works at
solo and group exhibitions in Japan. She has held
three solo exhibitions at Za Koenji since 2015. From
2019 to 2021, she was also involved in the stage art
for “Otokotachi no NakadeーIn the Company of Men
ー” a play by Edward Bond and directed by Makoto
Sato at the Za Koenji repertory stage. Exhibited at
the joint exhibition rooms40 in 2020,In 2023, she
was selected for the 4th Public Art House Oyabe
Contemporary Art Exhibition. She will participate in
many exhibitions in 2024 as well.
Miriam Medrez was born in Mexico City in 1958.
She studied Plastic Arts at UNAM, as well as at
Concordia University in Montreal, Canada. She also
completed educational work at Betzalel University
in Jerusalem, Israel. In 1985, she established
herself in Monterrey, located in the state of Nuevo
León. During this time, she intensified her work
as a sculptor at the start of the 1980s. Since then,
she has undergone a constant search, addressing
different mediums and experimenting with diverse
techniques filled with notable quality of execution
and craftsmanship. All of this has brought her
recognition, awards (1st place in sculpting, IV
Bienal Monterrey FEMSA, 1998), institutional
support (Sistema Nacional de Creadores FONCA/
CONACULTA 2006–2009 and 2010–2013). She
has also exhibited her work in museums (individual
retrospectives at the MARCO Museum of Monterrey
from 1995 to 2008), as well as other public and
private forums in Mexico and abroad. In 2023,
she participated in group exhibitions online in
Exhibizione with Kingdom Animalia and Emotiona
in Gallerium Art. In person, she exhibited her
work at the Korea Bojagi Forum in Seoul, South
Korea. In 2024, she is pursuing more exhibitions
and collaborating with other artists to expand her
knowledge about culture and customs.
163

MONA RITH
Lives in Austria
NHA NGO
Lives in Austria
OCTA CLAIRE
Lives in the USA
PENNY DI ROMA
Lives in Argentina
INSTAGRAM: @mona_rith
WEBSITE: monarith.com
A curious and inquisitive individual, Mona Rith was
born in Graz, Austria, and always sought out new
projects. After residing in Berlin and London and
working for ten years in the costume departments
for national and international film projects, Mona
Rith decided to make a change and focus on her
independent artistic expression. After relocating to
Vienna, she graduated from the University of Applied
Arts in Vienna with a Bachelor of Arts in 2020 and
a Master’s degree in 2021. During her studies, she
specialized in experimental weaving and began to
explore the processes of weaving to expand them
for herself. Her woven object ‘Melt’ was selected for
New York Textile Month in 2020. In 2021, she was
the Honoree of the Advancement Award of Styria,
Austria. Since then, she has exhibited her work in
several group exhibitions in and around Vienna. In
2023, she spent two weeks as an artist-in-residence
at Studio Aphorisma in Tuscany, where she again
intensively explored the process of double weave
and its possibilities and eventual limits. Today, she
is a visual artist with a focus on textile material and
teaches weaving at a school for art, fashion, and
design in Vienna, Austria, where she also resides.
INSTAGRAM: @nha__ngo
Nha Ngo is an artist who was born and raised in
Vietnam and currently lives and works in Vienna,
Austria. In her artistic work, Nha Ngo deals with
cultural themes on the one hand and with the
perception of moments and memories on the other.
She uses, among other things, the techniques of
weaving, embroidery, as well as graphic techniques
and drawing and applies them to fabric and paper.
INSTAGRAM: @unown.space
WEBSITE: unownspace.com
Swati Jain is a transdisciplinary architect, artist, and
researcher focusing on sociocultural, ecological,
and multisensory approaches to foster collective
empathy and equitable design solutions for the
future. Her work revolves around themes of gender,
identity, and phenomenological embodiment.
She has over seven years of diverse experience in
exhibition design, institutional, historic preservation,
residential, and urban design projects in both
New York City and Mumbai. Jain holds a Master
of Science in Advanced Architecture Design from
Columbia University ; She is currently an artist
in residence at the School of Visual Arts NYC,
Feb 2024 ; Bachelor of Architecture from the
University of Mumbai ; She has also pursued
post-graduate degrees in Indian aesthetics; critical
theory, aesthetics, and practice from Jnanapravaha
Mumbai.
In 2022, She wrote and directed a film titled “Kitchen
Evolution” that was exhibited at The Kitchen NYC
(July 2023), SAWCC (Oct 2022) and The Tank NYC
(Nov 2023, off-Broadway theater) and distributed by
Mubi (July 2023), Printed Matter (Oct 2022), most
recently presented at AIA WIA at the Centre for
Architecture, New York (Nov 2023 and Feb 2024).
INSTAGRAM: @penny.diroma
Born in Buenos Aires in 1988, she studied at
the University of the Argentine Social Museum
(U.M.S.A), earning a bachelor’s degree in Visual
Arts with a focus on sculpture. She received the
Grand Prize at UADE ART 2023: a scholarship
for overseas training with her bioart piece titled
“Witnesses of What Is to Come.” She won the 3rd
Prize at the Foundation FORTABAT 2021 Award
with her bioart installation “LIVING NATURE:
WHEN IT AWAKENS.” She was a finalist in the
Itau Bioart Category Award 2022. Selected for the
National MUMBAT Salon 2020/21, UNNE Award
2019, MACSUR Award 2018, Itau Award 2018, and
chosen to participate in Cavallero Juventus with a
site-specific installation in 2018. She participated
in the ARTISTASXARTISTAS program and the
clinic of the Cazadores Foundation. She attended
individual clinics with Leila Tschoop and Dolores
Casares. She exhibited in group shows at UADE Art,
Foundation FORTABAT, MUMBAT Museum, UNNE
Cultural Center, Rio Gallegos Cultural Complex
(textile art), MACSUR Museum, Modos Space, Peru
Factory for the Night of the Museums, Cazadores
Foundation, Cavallero Space, Cabrera Space,
among others. She works in the field of terrariums
and microecosystems for her entrepreneurship
NANOVIVARIUM, where she designs and creates
self-sustained ecosystems as author pieces.
RAPHAEL DIAS
Lives in Brazil
REGINA DURANTE JESTROW
Lives in the USA
RENATA CARNEIRO
Lives in Portugal
SARA PEREIRA
Lives in Portugal
INSTAGRAM: @raphael_dias
WEBSITE: raphael-dias.com
INSTAGRAM: @reginajestrow
WEBSITE: reginajestrow.com
INSTAGRAM: @rc_renata_carneiro
WEBSITE: renatacarneiro.com
INSTAGRAM: @sarapereira_atelier
WEBSITE: sarapereiraatelier.com
Born in Curitiba in 1986, he lives in São Paulo.
With a photographic gaze, pure and refined, his
aesthetics encompass several interpretations of
nature. A visual artist with many facets, he began
this journey in photography, transitioned through
drawing and collage, and eventually arrived at
tapestry—a platform where he presents his visual
strength with depth of textures and historical
research. He is a self-taught artist, and his journey
is interconnected by composition in general—always
rearranging information in an aesthetic manner with
functionality—such as Casa Diária/www.diaria.co/
store (co-founder and curator) and the spaces that
permeate his daily life, such as his own atelier and
home. His focus is on living, dwelling, architecture,
and the history of built spaces. With 8 years of
experience in curating independent artists, since
2020, he has embarked on his visual practice with
tapestry. And since then, he has been building a
solid body of work. Tapestry became the medium
through which he delved into himself, seeking
personal expression through lines, threads, textures,
and colors. Solo exhibitions: 08/2022 - Modern
Tropical - Casa Diária - São Paulo - Brazil. 12/2023 -
Near - FLO Atelier Botânico - São Paulo - Brazil.
Regina Durante Jestrow (born in 1978) is a
contemporary textile artist from Queens, New York,
who currently calls Miami, Florida, her home. Her
artistic journey began in her formative years as she
learned the art of sewing from her mother, igniting a
passion that would become a lifelong creative force.
This connection to the art of needle and thread is
the bedrock of her artistic practice. Relocating to
Miami allowed Jestrow to delve into quilting, which
became a source of solace and creative expression,
especially during bouts of homesickness. In her
Miami home studio, the sewing machine, a symbol
of comfort and creativity, continued to take center
stage. Regina Jestrow’s artistic exploration is
infused with a deep-rooted commitment to women’s
rights and a reverence for history, combined with
a deep appreciation for the patterns and stories
drawn from the enduring traditions of American
quilt-making. Her affinity for textile arts pushes the
boundaries of the medium, resulting in a diverse
body of work that includes paintings, drawings,
sculptural installations, textile wall hangings, and
functional objects. Her art quilts feature a fusion of
new and second-hand fabrics, including hand-dyed
and manipulated textiles through various techniques
such as dyes, inks, staining, and controlled burning.
The resulting pieces are vibrant and evocative,
reflecting the colors and patterns that evoke Miami’s
dynamic cultural diversity and landscape.
Renata Carneiro was born in Porto, where she lives
and works. She started her art studies at an early
age, in Escola Soares dos Reis, a secondary school
specialized in arts. Then she attended Esap - Escola
Superior Artística do Porto, where she earned a
Bachelor’s in Painting and later a degree in Plastic
Arts. She went to Spain, Madrid, to Complutense
University, where she obtained a Master’s Degree
in Fine Arts. She has been exhibiting her work
since 2000 in individual and collective exhibits and
is represented in private and public collections
in Portugal, Spain, France, Germany, Greece,
and Japan. Places where she is represented:
Shoe Museum – S. João da Madeira - Portugal;
Matosinhos Council Matosinhos - Portugal;
Ovar Museum; Kalhkos- Print Gallery- Buenos
Aires- Argentina; DaVinci art gallery - OPorto; UHY
Portugal - Lisbon; Ensamble - Lomas de Zamora-
Buenos Aires - Argentina; CROMÁTICO – Print
House – Argentina; B- Gallery – Tokyo - Japan;
Sargadelos Gallery – Madrid – Spain; Print Museum
- Alijo - Portugal; Hat Museum - S. João da Madeira
- Portugal; Winsome awards: Honorable Mention
in Print Salon- Abstraction and Figurative Buenos
Aires, Argentina; Award in the 5º Print Festival
in Évora, International Biennal, Matriz; 3º award
in Photography – New Creators de S. João da
Madeira; Latest individual exhibits: 2022- “Into the
Pure” – Library Gallery Albano Sardoeira- Amarante;
2019- Ginkgo – DaVinci art gallery- Porto.
Sara Pereira was born in Guimarães, Portugal,
in 1977 and currently resides in Oporto. She
graduated in Fine Arts and began working with
textiles in 2014 after completing a master’s degree
in Painting at the University of Lisbon. In 2023, she
was shortlisted for The Fine Art Textiles Award and
exhibited her textile work at The Festival of Quilts
and in London at The Knitting & Stitching Shows.
In 2011, she was selected for the Biennial Jeune
Création Européenne, where she exhibited her work
in several countries, including Fabrique Montrouge
in Paris, Kunsthaus Hamburg in Klosterwall, and
Galerie im Traklaus in Salzburg. In 2010, she was
selected for the IX Bienal do Eixo-Atlântico, a
biennial that features several exhibitions in Portugal
and Spain. Some notable solo exhibitions include
“Na Arena e nos Bastidores” in 2014 at the Faculty
of Fine Arts Gallery in Lisbon, an exhibition in 2012
at the Casa Museu Bissaya Barreto in Coimbra, and
exhibitions in 2011 at Palácio D. Manuel in Évora
and at Casa da Cultura in Vila do Conde. Notable
collective exhibitions include the “Primeira Página”
exhibition in 2014 at Módulo gallery, the “El papel
del dibujo VII” exhibition in 2014 at Galeria Ángeles
Baños in Badajoz, the “Poéticas” exhibition in 2012
at the Carmo Archaeological Museum in Lisbon, and
the “Temperature Variations” exhibition in 2012 at
the Palácio das Artes in Oporto.
164

SARAH HASKELL
Lives in the USA
SARAH VIGUER CEBRIÀ
Lives in France
SILVINA SORIA
Lives in Spain
SONJA CABALT
Lives in The Netherlands
INSTAGRAM: @sdhaskell
WEBSITE: sarahhaskell.com
INSTAGRAM: @sarah_viguer
WEBSITE: sarahviguer.fr
INSTAGRAM: @artsoriasilvina
WEBSITE: silvinasoriadesign.com
INSTAGRAM: @sonjacabalt
WEBSITE: sonjacabalt.com
Born and raised in New England, Sarah has a BFA
from Rhode Island School of Design. As a seeker,
maker, and creative pathfinder, her medium is most
often thread. Sarah’s artwork explores the crossover
between text and textile, investigating the mystery of
encoded fabrics and the hidden language of cloth.
Exhibits: September 11th Memorial and Museum,
NYC, NY; The New Bedford Museum of Art, MA;
Attleboro Museum of Art, MA; Fuller Craft Museum,
Brockton, MA; Museum Texas Tech University,
Lubbock TX; Artists’ Museum, Washington, D.C.;
the Portland Museum of Art, Portland ME; Currier
Museum of Art, Manchester, NH, Wichita Center
for the Arts, Wichita, KA. She is a 2021 Fellow for
the Maine Arts Commission and a four-time finalist
for the Greater Piscataqua Charitable Foundation
Artist Advancement Award. Artist residencies:
Monson Arts, Monson, ME; Monhegan Island, ME;
Hewnoaks, Lovell, ME; Vermont Studio Center,
Peters Valley Crafts Center, Layton, NJ; Acadia
National Park, ME, and Hambidge Center, Rabun,
GA. Community Art - “Each One: The Button Project,
a 9/11 Memorial” (2001-2) owned by the City of
Portsmouth, NH, created to honor over 3,000 who
perished that day, including the hijackers. “Woven
Voices, Messages from the Heart” global peace
project, (2007-12) weaving community and peace.
“Well Used, Well Loved” (2015-17) exploring
age, beauty, impermanence using a handwoven
dishtowel/reflective writing, with over 50 households.
The “Mandala Community Weaving” (1999-present),
reaching over 200 nationwide organizations and
schools.
Sarah Viguer is a textile artist. She lives and
works between Marseille (FR) and Valencia (SP).
Her research focuses on textile sculpture, body
language, textile know-how, eco-designed materials,
and queer pedagogy. Notions of gestation,
organicity, and formlessness are central themes
in her oeuvre. Her various works examine mimetic
introjection into matter, rootlessness, mythopoetical
agency, and self-supporting textiles. She
collaborates with numerous craftswomen to develop
production scenarios based on an exploration of raw
materials. She founded the Xufa Proceso research
project (a local initiative based in the Valencian
huerta with the aim of recovering eco-waste from
xufa agriculture). She is a qualified textile-art teacher
and consultant in design anthropology.
Her previous exhibitions include Casa Velazquez
(Madrid, 2023), Artorama (Marseille, 2022),
Valencia World Design Capital 2022, Adorno Gallery
(London, 2021), Fernan Gomez Cultural Center
(Madrid, 2021), National Dance Center (Pantin,
2020), Mudac (Lausanne, 2019), Wanted Design
Brooklyn (New York, 2017), Young & Mad (Brussels,
2016), Fédération Wallonie Bruxelles (Brussels,
2016), Arcade (Sainte-Colombe, 2016), Musée
des Arts Décoratifs de Paris (2015), Jean Nouvel
Gallery (Paris, 2014), Grand Hornu Image (2014),
Fabbrica del Vapore (Milan, 2014), Ouagadougou
French Institute (2013). She is currently teaching at
Marseille National School of Design, in the Textile
Design department. Her work is part of the collection
of Musée des Arts Décoratifs Paris and CID Grand-
Hornu. She is laureate of the Wool & Creation Grant
2023 of Casa Velazquez, Mobilier National & the
Society of Authors in Arts (ADAGP).
An Argentine Visual Artist currently residing in Spain,
she brings a rich background steeped in traditional
training and diverse technical skills to her creative
pursuits. Throughout her professional journey, she
has adeptly explored various mediums, including
wood, steel, stone, cane, mixed media, and Land
Art installations. Soon after finishing her studies in
Buenos Aires, she went into an artists residence in
Paris and then moved to London. Her artistic journey
was shaped during her tenure in London, where she
spent a decade honing her craft. During this period,
she established her own studio, where she crafted
sculptures and sculptural jewellery. Her works have
been exhibited in numerous venues, including the
Collyer Bristow Gallery, the Brazilian Embassy in
London (as part of the Via Arts Prize exhibition), and
The Glass Tank Art Gallery in Oxford, among others.
She has participated in sculptors symposiums
across the globe, from Argentina and Chile to Italy
and organised two in England. Additionally, she has
been an artist in residence in Spain, France, and
Estonia, further enriching her artistic repertoire and
cross-cultural experiences. She has been selected
for the National Textile Art Salon in Argentina for
her series titled “Alambrares” alongside other
achievements.
Sonja Cabalt is an artist/designer living and working
in Amsterdam. Since 2015, she has rented a studio
and begun her career as an independent artist.
She mainly works with fiber, porcelain, and Tyvek,
employing techniques such as felting, knitting,
and crocheting. She develops new techniques
by experimenting with various materials and
combinations.
THE PHANTOMAT
Lives in the UK
TICHIT CHANTAL
Lives in France
VERONICA POCK
Lives The Netherlands
INSTAGRAM: @the_phantomat
WEBSITE: thephantomat.com
INSTAGRAM: @chantal.tichit_artvisuel
WEBSITE: chantaltichit.com
INSTAGRAM: @veronicapock
WEBSITE: veronicapock.com
The Phantomat (*1977) was born in Frankfurt but
when he was 11 years old, the whole family moved
to Costa Rica. He studied at the Art Academy
Vienna and survived on grants and scholarships for
9 years. After being burned out in 2012 he settled
down in London (UK) and opted for a part-time
day job. He feels blessed to have lived half of his
life as a woman and now as a man. He has done
over 50 exhibitions including Sotheby’s (London),
CICA Museum (South Korea), Brighton Museum
(UK), Museum of Art History (Vienna). He has
been awarded the Theodor Körner Art Prize (2007)
and the Sussmann Art Prize (2006). His work is in
permanent Collections of the Federal Chancellery
(Austria), Transology (displayed at Tate Britain for
one day), Bischopsgate Institute (UK).
Chantal Tichit, originally from the high plateaus of
Aubrac, built her artistic passion far from her native
land, in central France, in a wild and agricultural
region. After spending two years in Patrice
Vermeille’s engraving workshop at the Beaux Arts
in Montpellier, she set out to transcribe the graphic
and organic spirit of the vast horizons of her beloved
Aubrac. In the 90s, Chantal obtained a degree in
plastic arts from Paris VIII. She undertook to write
a master’s thesis on the skin organ and its artistic
representation. However, she decided not to pursue
this research, preferring to explore visually her
questions about the body, its containers, contents,
and impediments. Chantal regularly exhibits her
work in France and abroad. In 2002, she received
a special mention from the jury at the Salon d’Art
Contemporain de Senlis - Ile de France. In 2019, a
major retrospective of her work, Fils poétiques, was
organized in Bezons, Ile de France. In 2023, two of
her works were chosen to be exhibited in prestigious
venues in Italy, including the Museum of Embroidery
and Textiles in Valtopina. Her work has also been
published in the literary and visual arts magazine
The Woven Tale Press. She has also produced
and presented works in collaboration with other
artists and craftspeople, notably ceramist Rose
Coogan and jeweler Corinne Halliez, with whom
she explores the meeting and interpenetration of
materials considered incompatible at first sight.
Veronica is a textile artist specializing in weaving.
She retrained as a textile designer and artist after
completing a PhD in chemistry and a career in
publishing. With a passion for reusing and recycling
waste and a perceptive sense of color and textural
combination, Veronica uses materials such as
newspaper, vintage maps, and cassette tape
to create wall hangings and panels. Education:
2000-2004: Veronica studied fashion and textiles
at the Royal Academy of Art in The Hague, The
Netherlands, graduating in 2004; 1999: Open
College of the Arts (UK) textiles foundation,
1998-1999: Portfolio foundation course, The City
Lit, London, UK. Grants: In 2007, Veronica was
awarded a start-up scholarship from the Fonds
BKVB, Amsterdam, NL, which enabled her to
set up her weaving studio in The Hague, NL.
Exhibitions: August 2023: ‘Re-Imagined: New
Work From Traditional Makers, Designers And
Artists From Across The World’ group exhibition,
East Hampton, NY, USA, May 2023: ‘Houdbaar
vernieuwend’ [sustainably innovative] group
exhibition at Kunstuitleen Voorburg, Den Haag, NL,
April-July 2022: ‘Zeven x weven’ group exhibition
at De Katoendrukkerij, Amersfoort, NL, May 2021:
‘Artist of the month’ at Kunstuitleen Voorburg, The
Hague, NL, 2015: Cambrian Mountains Wool Design
& Make Challenge exhibition, 2009: ‘Ten’ exhibition
at Bilston Craft Gallery, Wolverhampton, UK, 2006:
Making Words exhibition at Bilston Craft Gallery,
Wolverhampton, UK. Awards: European Wool
Awards, 2003 and the Bradford Textile Society 2005.
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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.
A RENDEIRA BY SARA RATOLA 10, 11, 10, 157
ADRIANA FERLA 12, 13, 12, 157
AMELIA NIN 14, 15, 14, 157
ANNA TSVELL 16, 17, 16, 157
ANNIKA ANDERSSON 18, 19, 18, 157
BARBARA ASH 20, 21, 20, 157
BEATA PROCHOWSKA 22, 23, 22, 158
BERENICE COURTIN 24, 25, 24, 158
BIJOU ARTS 26, 27, 26, 158
BROOKS HARRIS STEVENS 29, 28, 158
CATHERINE REINHART 30, 31, 30, 158
CHARLOTTE SCHMID- MAYBACH 32, 33, 32, 158
CLUCA 34, 35, 34, 158
CRISTIAN VELASCO 36, 37, 36, 158
DAN CHARBONNET 38, 39, 38, 159
DANIELA VIGNOLI 40, 41, 40, 159
DAWN ERTL 42, 43, 42, 159
DENISE BLANCHARD 44, 45, 44, 159
EILEEN BRAUN 46, 47, 46, 159
ERIK BERGRIN 48, 49, 48, 159
ESTEFANÍA TARUD KARL 50, 51, 50, 159
EVA ALVOR 52, 53, 52, 159
FOJE 54, 55, 54, 160
FRANZISKA WARZOG 56, 57, 56, 160
GIAN PADILLA SUAREZ 58, 59, 58, 160
GUACOLDA 60, 61, 60, 160
HELENA WADSLEY 62, 63, 62, 160
HENRIQUE VAN PUTTEN 64, 65, 64, 160
INGER ODGAARD 66, 67, 66, 160
IRA RZ 69, 68, 160
ITAMAR YEHIEL 70, 71, 70, 161
JAY LEE 72, 73, 72, 161
JENNA MANZANO 74, 75, 74, 161
JOEDY MARINS 76, 77, 76, 161
KARINA WALTER 78, 79, 78, 161
KATE V M SYLVESTER 80, 81, 80, 161
KATHARINA GAHLERT 82, 83, 82, 161
KATHARINA KRENKEL 84, 85, 84, 161
KATHERINE DANIELS 86, 87, 86, 162
KATHY LANDVOGT 88, 89, 88, 162
KELLY LIMERICK 91, 90, 162
LEISA RICH 92, 93, 92, 162
LENORE SOLMO 94, 95, 94, 162
LINDA FRIEDMAN SCHMIDT 96, 97, 96, 162
LUBA ZYGAREWICZ 98, 99, 98, 162
LYNNE CHAPMAN 100, 101, 100, 162
MAGALI TAMARA WILENSKY 102, 103, 102, 163
MALLORY ZONDAG 104, 105, 104, 163
MARCELA DE LA VEGA 106, 107, 106, 163
MARÍA ORTEGA 108, 109, 108, 163
MARIANNA MAGURUDUMIAN O’REILLY 110, 111, 100, 163
MARIETA TONEVA 112, 113, 112, 163
MARIKO NAGAO 114, 115, 114, 163
MIRIAM MEDREZ 116, 117, 116, 163
MONA RITH 118, 119, 118, 164
NHA NGO 120, 121, 120, 164
OCTA CLAIRE 122, 123, 122, 164
PENNY DI ROMA 124, 125, 124, 164
RAPHAEL DIAS 126, 127, 126, 164
REGINA DURANTE JESTROW 128, 129, 128, 164
RENATA CARNEIRO 130, 131, 130, 164
SARA PEREIRA 132, 133, 132, 164
SARAH HASKELL 134, 135, 134, 165
SARAH VIGUER CEBRIÀ 137, 136, 165
SILVINA SORIA 138, 139, 138, 165
SONJA CABALT 141, 140, 165
THE PHANTOMAT 142, 143, 142, 165
TICHIT CHANTAL 144, 145, 144, 165
VERONICA POCK 146, 147, 146, 165
167

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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.
A RENDEIRA BY SARA RATOLA 10, 11
Photos by Joana Magalhães 10, 11
ADRIANA FERLA 12, 13
Photos by Paulo Pereira 12, 13
AMELIA NIN 14, 15
Photos by Maria Rapela14, 15
ANNA TSVELL 16, 17
ANNIKA ANDERSSON 18, 19
Photo by Hillevi Nagel 19
Photo by Sebastian Waldenby 18
BARBARA ASH 20, 21
BEATA PROCHOWSKA 22, 23
Photos by H.P. Frevel 22, 23
Text by Dr. Birgit Kulmer 157
BERENICE COURTIN 24, 25
Installation and Video: Capsule of the Center Pompidou in Metz, 16th
September to 17th December 2023. In partnership with Octobre Numérique
in connection with the Worldbuilding exhibition, “Video games and art in
the digital age” curated by Hans Ulrich Obrist.
Special Thanks to: Anne-Marine Guiberteau and Elsa De Smet.
Collaborations with: La Réserve des Arts, Bermuda Ateliers,
Recyclerie Caritas, Playtronica, Fabricademy and Le Textile Lab.
Featuring: Louis Dambrain, Sara Bissen, Dora Sayari, Ornella Pizzi and
Raphaël Harari.
BIJOU ARTS 26, 27
BROOKS HARRIS STEVENS 29, 28
CATHERINE REINHART 30, 31
CHARLOTTE SCHMID- MAYBACH 32, 33
CLUCA 34, 35
CRISTIAN VELASCO 36, 37
DAN CHARBONNET 38, 39
The photos are courtesy of the artist and Octavia Art Gallery,
New Orleans 38, 39
DANIELA VIGNOLI 40, 41
DAWN ERTL 42, 43
Photo by Labkhand Olfatmanesh 43
DENISE BLANCHARD 44, 45
EILEEN BRAUN 46, 47
ERIK BERGRIN 48, 49
ESTEFANÍA TARUD KARL 50, 51
Photos by Ignacio Despouy 51
Text translation by Macarena Vallejos 50
EVA ALVOR 52, 53
FOJE 54, 55
Photos by Peyman Afnani 54, 55
Photo project by Amirhosein Dabehgar and Shabnam Salehi
Video documentary by Niloufar Zabihi and Alireza Farhadzade (Lozi Studio)
FRANZISKA WARZOG 56, 57
GIAN PADILLA SUAREZ 58, 59
GUACOLDA 60, 61
HELENA WADSLEY 62, 63
HENRIQUE VAN PUTTEN 64, 65
INGER ODGAARD 66, 67
Photos by Lasse Hansen 66, 67
IRA RZ 69, 68
ITAMAR YEHIEL 70, 71
Photos by Shir Koren 70, 71
JAY LEE 72, 73
JENNA MANZANO 74, 75
JOEDY MARINS 76, 77
KARINA WALTER 78, 79
KATE V M SYLVESTER 80, 81
Videos by the artist 80, 81
Photo by Kate Robertson 80
KATHARINA GAHLERT 82, 83
Photo by Stephan Helmut Beier 82
Photo by Mirsini Artakianou 83
Works were funded by Kunststiftung des Landes Sachsen-Anhalt
and Kloster Bergesche Stiftung
KATHARINA KRENKEL 84, 85
KATHERINE DANIELS 86, 87
KATHY LANDVOGT 88, 89
Photos by Lorena Carrington and James McArdle 88, 89
KELLY LIMERICK 90, 91
“Unbecoming: Film”, a film by Joy Song featuring the artworks of Kelly
Limerick and “100: film cutdown”, this original artwork was commissioned by
LOUIS XIII 91
LEISA RICH 92, 93, 92
LENORE SOLMO 94, 95
LINDA FRIEDMAN SCHMIDT 96, 97
LUBA ZYGAREWICZ 98, 99
LYNNE CHAPMAN 100, 101
Photos by Jerry Lampson 100, 101
MAGALI TAMARA WILENSKY 102, 103
MALLORY ZONDAG 104, 105
MARCELA DE LA VEGA 106, 107
Texts and photos by Calada.art 106, 163
MARÍA ORTEGA 108, 109
MARIANNA MAGURUDUMIAN O’REILLY 110, 111
MARIETA TONEVA 112, 113
MARIKO NAGAO 114, 115
MIRIAM MEDREZ 116, 117
Photo by Patty Carrington 117
Photo by Isabel Ortiz 116
MONA RITH 118, 119
Photo by Paul Vincenth Schütz, University of Applied Arts, Vienna,
Digital Photography Lab 119
NHA NGO 120, 121
OCTA CLAIRE 122, 123
PENNY DI ROMA 124, 125
RAPHAEL DIAS 126, 127
REGINA DURANTE JESTROW 128, 129
RENATA CARNEIRO 130, 131
Text by Renata Carneiro e Cátia Brandão 130
Text translation by Lucília Leitão 130
SARA PEREIRA 132, 133
SARAH HASKELL 134, 135
SARAH VIGUER CEBRIÀ 137, 136
SILVINA SORIA 138, 139
SONJA CABALT 141, 140
THE PHANTOMAT 142, 143
TICHIT CHANTAL 144, 145
VERONICA POCK 146, 147
169

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SCHOPENHUAER, A. O mundo como vontade e como representação. Trad., apres., notas e índices de Jair Barboza. São Paulo: Unesp, 2005.
171

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