Today we begin a new essay, an essay that we will weave by interweaving threads of sisterhood through creation. This is an invitation for us to enjoy together the pleasure of spinning knowledge, weaving stories and giving life to our own and collective geography at the same time, which calls us to enunciate the world from the exercise of femininity starting from creativity, crafts and the passion for the beautiful. It will be a plot of infinite points, intertwined by the exercise of our senses and our memory, to (re)create the world and engage in the search for the intangible. Between warps and needles, women's stories will emerge, (inter)woven with and for life.
"All my characters are female, I am interested in speaking from this place. It is what I know, what I potentialize and what interests me. My lineage is female. I had grandmothers and not grandfathers. Daughters and not sons."
An inhabitant of endearingly feminine territories, she is also an impetuous weaver of her autobiography, a traveler of paths and a braider of borders; reliable visionary of a universe that transcends our bodies, prisoners behind the bars of biology and (re)creator of hybrid networks of light and fog.
The trades are, in the work of Luz Lizarazo, a statement of creativity challenged by an incessant, rhythmic and precise pulse. These seem to push her to a search beyond the tangible, the same search that leads her to uncover the ambiguity of what is human and to redefine life.
“I feel that what I am doing responds to a mission, a duty. Facing risks represents an effort to achieve a global language from the particularity of my brand.”
With a firm decision, Laura Laurens approaches the exercise of weaving life from interpellation, deconstruction and creativity, constantly seeking new spaces from which to question established patterns of normality, mutating from subalternity.
For this plastic artist, design is a more sculptural than textile process, making weaving a search for those meeting points between space and the body. Her pattern-making is framed by complex, pure and often circular cut lines, as if she wanted to express to us a sensation of existential infinity or absolute plenitude.
“I don't build paper geometries, I invent non-existent universes that become visible through my hands. I'm not talking about everyday life, I'm talking about every feeling that is felt. "I'm not talking about an ancient technique, I immerse myself in its essence to be able to create."
This brave walker is guided by respect, love and admiration for her ancestors. His art reveals to us a universe of paper, woven by ancient heritages that bear witness to a long journey along silk routes and magical sunsets. His hands, which are his house and home at the same time, are tireless folders of life, memories and collective skins.
“It talks about nature, indigenous communities, displacement in society and devastation on earth. “A feminine look at the fragility of that lost balance.”
Green seems to be the horizon that governs her, on a journey with no return, traveling paths, mountains and rivers of life, guided by jaguar women and messengers of the gods. She is an illustrious observer who, with outstanding eloquence, reveals stories of displacement, deforestation and devastation immersed in our idea of modernity and progress.
The commitment to the transformation of the coordinates of meaning places the trades at the center of Ana González's artistic universe. They are a striker that reveals the fragility of human existence and unravels femininities that lead us to think of ourselves differently, from the common, from balance and from love for the territory.