Spaces, embroidery and temporal tears: an ecopoetics of thread
My artistic research unfolds at the intersection of textile techniques and their symbolic, historical, and ecological meanings. As a practice that is both manual and conceptual, embroidery occupies a central place within it: it is at once a tool of repair, a vessel of memory, and a medium for exploring fragilities: those of materials, narratives, and ecosystems.
The major themes running through my work - the relationship to time and finitude, creation/destruction, repair/transformation - are articulated through a reflection on the resilience of materials and forms of knowledge. I create textile objects and images from fragments gathered in my environment (plants, hair, oxidized metals) or inspired by the history of painting, particularly the genres of still life and vanitas. These choices question the permanence of the ephemeral and the memory of gestures, while engaging in dialogue with the contemporary issues of the Anthropocene.
Thread as an Ecological Metaphor
With needle and thread, I repair, reorganize, and connect these fragments, placing them within a new spatio-temporal context. This act of stitching becomes an allegory of regeneration: it evokes the ability of ecosystems to rebuild themselves, but also the precariousness of natural balances. The threads that spill beyond the frame - sometimes taut, sometimes loose - materialize the tensions between order and chaos, between human control and organic forces. They remind us that any structure, whether textile or social, may unravel, but can also reinvent itself.
Embroidery and Ecopoetics: A Genealogy of Knowledge
My practice also explores the graphic and narrative dimensions of embroidery, which I apply directly onto photographs or drawings. The threads, deliberately left visible, extend beyond the limits of the support and enter the exhibition space, transforming the drawing into an installation. This physical and symbolic extension highlights:
Fragility a single pulled thread can destroy everything, a metaphor for the vulnerability of ecosystems and traditional forms of knowledge (often feminine and marginalized)
Infinite extension: the embroidered drawing can grow, branch out, become a network, like the roots of a plant or the connections of a collective narrative.
Transmission and Textile Memory
Embroidery is not merely a graphic technique: it is a symbolic language, a repository of memory and time. Each stitch carries within it a genealogy of gestures, skills, and cultural, temporal, and political codes. By reactivating these gestures, I situate myself within an archaeology of women’s practices, often relegated to the realm of craft, yet carrying within them forms of resistance and innovation. My works seek to reactivate these narratives - whether individual or collective - in order to weave new links between past and present, between cultures and disciplines.
Toward an Aesthetics of Resilience
By incorporating organic materials (dried plants, hair) or oxidizable metals (copper), I question the reversibility of processes: degradation becomes an integral part of the work, just as the alchemical transformation of materials does. These choices reflect an ecopoetics of textile, in which embroidery is no longer merely ornament, but an act of resistance — against oblivion, against the standardization of bodies and landscapes, against the erasure of situated knowledge.
An Invitation to Connection
Finally, my pieces are conceived as spaces of dialogue: they invite viewers to connect with the threads, to continue the patterns imaginatively, and to reflect on their own place within these networks of memory. In this sense, embroidery becomes a tool of mediation between the intimate and the political, between history and ecological urgency.