I am interested in the cultural dimension of textiles, in their emotions — movements and feelings.

In most societies around the world, knowledge about textiles has been passed on, transmitted and preserved through gestures and non-verbal language.

This heritage has been enriched by exchanges through historical trade routes and is interpreted by a culture that carries codes.

This expertise is passed down through generations by women, using their hands as tools — becoming embodied knowledge.

My work incorporates various references from geographically dispersed, hybrid cultures as well as customs from different periods in the history of weaving.

The final artworks don’t illustrate the human labor-intensive, nor the substantial knowledge, applied mathematics and generations of transmission and cultural influences included to achieve the outcome.

A woven fabric is never empty, it contains history, memory and narrative.

With a personal approach, I explore manual techniques anchored in ancestral textile-making.

I develop colors of and patterns from traditional and ancient production methods, which transports the technical knowledge and the textile legacy into the realm of contemporary art.

The threads themselves are approached arbitrarily, morphing and manifesting themselves into unpredictable patterns in the weaving structure.

Empirical experimentation brings them together in a personal modus operandi, hijacking traditional results while paying tribute to them; amalgams of cultural references.

The resulting images hover between samples of traditional artistry; minimalist grids; and contemporary glitches.