Graphic works on fabric are, and have been, an essential part of my work for almost two decades. During this time, I have collected fabrics from different periods and countries.
Over a printed textile support, I forge symbolic relationships between image and material that link origin and representation. Signs of wear and tear on old sheets or old upholstery fabric, as well as the printing, assemblage and superimposition of fine fabrics like veils, are characteristics that help me create narratives that explore notions such as the intimate, the vulnerable, silence, withdrawal and lack of communication.
The references I have had are traditional Western tales, the school as an institution and enclosed places. I am interested in connecting the conscious and unconscious memory and relationships between present and past, preserving the mystery that emanates from certain characters and giving them provocative messages with a sinister meaning, given that what should have remained concealed has been revealed.
The technical processes I use in my work are extremely important to me, and the different forms of printing give me this. I make unique works primarily because of my interest in processes and manipulations of prints and post-printing with a range of original, unique supports characterised by their age and discontinuity.