Embroidered Textual Scapes (2023)
Two years after "textual nets,” my new visual proposition has evolved into "embroidered textual spaces.” Always within the familiar field of printmaking, this new body of work tackles themes deeply intertwined with my ongoing artistic explorations. The impetus for introducing this new artistic perspective was being awarded first prize in the recent competition for the creation of an artistic gift for the House of Representatives.
This fresh collection revolves around the Mediterranean Sea theme while drawing from the intricate art of embroidery. Historically relegated to the confines of Handicrafts, embroidery emerges as an art form that embodies a predominantly female expression, encapsulating unspoken narratives. Within a societal framework entrenched in dominant patriarchal structures and profit-driven economies, this form of expression often remained muted—a silent, ornamental text. Through themes encompassing nature, environment, gender roles, female identity, and the visual language I speak best, I weave and thread my ecological concerns. Issues like climate change, war, and subsequent disruptions in the social fabric call for novel approaches that foster new connections and kinships, expanding the realm of coexistence.
My creative process encompasses both traditional printmaking techniques and experimental printing methods. The iterative process of reprinting gives rise to the inherent values of collectivity and community. The act of creating art becomes a slow, therapeutic experience, amalgamating differences and convergences. This union of hand, mind, and time embodies a magical, deeply internal process.
Deliberate and unhurried, the tactile and ritualistic nature of printing allows my hands to "think," creating a unique space where art and embroidered thoughts converge. Rooted in gendered processes and practices, these artworks weave tales—both ancient and contemporary. They ponder on ideas of kinship and symbiosis, embracing human and non-human entities alike. This prayer-like, symbolic process—both manual and spiritual—pushes the boundaries of imagination to reconstruct sanctuaries, reimagining safe spaces through a collective effort dedicated to preserving life and nature.
The artwork, resembling a fabric sack adorned with delicate embroidery and prints using humble, vulnerable materials, becomes a tapestry of interconnected thoughts. These wrapped bundles encapsulate the history of coexistence and communal experiences. Transforming into tangible entities, they become akin to rucksacks—vessels that gather and safeguard the memories of fragile life and notions of belonging. They construct a fresh network of relationships and encounters, a new economy. They extend the boundaries of thought, creating spaces for collaborative creation and inclusive frameworks. What I content in my practice is that care and the unveiling beauty in nature, is a political act and a form of social resistance.
In the well-chosen words of Donna Haraway in her foreword to Ursula Le Guin's book, The Carrier Bag Theory of Fiction, “to salvage the unheroic stories that have yet to be heard. For a language that makes possible the reimagining and re-enchantment of the world around us.”