ONE WORLD

ONE
WORLD
RODRIGO FRANZÃO
MUSEU TÊXTIL

117

ONE
WORLD
RODRIGO FRANZÃO
MUSEU TÊXTIL

All rights reserved and protected by Law 9.610 of 02/19/98. Reproduction, in whole or in part,
by any means, without the prior written authorization of Museu Têxtil, is prohibited.
Project:
Museu Têxtil
Cover design, editor, and curator:
Rodrigo Franzão
English translation:
Flávio Augusto de Oliveira
Copyright ©
Museu Têxtil, New Orleans, 2025
Contact:
INSTAGRAM: @museutextil
Website: museutextil.com
E-mail: art@museutextil.com
Book cover:
SINCE TIME IS RUNNING OUT, 2021 (Dtl.)
by Catherine Orain, p. 18
This exhibition was organized with a virtual layout, viewing room, and 360° virtual tour,
providing free admission to the Museu Têxtil. The use of images to compose the virtual
exhibition “One World” (March 25 - July 20, 2025) and this book has been authorized by the
respective artists for the Museu Têxtil through a signed consent form. No image from this book
may be used or reproduced for commercial purposes without the authorization of the Museu
Têxtil.
The information accompanying the artists, such as their biography, artistic statement, and
descriptions of artworks (title, year, dimensions), has been provided and reviewed by the
artists themselves to maintain the authenticity and originality of their artistic research.
It is important to emphasize that the Museu Têxtil does not assume a defined social or
political stance and does not make distinctions based on race or gender. The images and
texts provided by the artists are considered direct reflections of their own perspectives and
individual responsibilities.
The book was edited for Museu Têxtil by Rodrigo Franzão.
ISBN: 978-65-998488-3-4
Printed by Blurb, Inc. in San Francisco, CA, USA.
PROUDLY MADE IN NEW ORLEANS, U.S.A.

Originally founded in 2020 in São Paulo, Brazil,
by Rodrigo Franzão and currently located in
New Orleans, USA, Museu Têxtil aims to bring
together curious minds interested in art, design,
and culture by presenting universal research,
techniques, and styles found in textile, mixed,
and dimensional arts. These universal concepts
are presented by visionaries from around
the world who use their creativity to express
themselves and share their worldviews. In
this way, Museu Têxtil becomes a space that
stimulates dialogue and inspires art lovers and
creators from all over the world.
The main objective of Museu Têxtil is to
disseminate the work of creative minds who use
textile strategies as support in their creations.
Additionally, the institution aims to foster an
environment conducive to research, production,
and exhibition of this cultural manifestation and
form of artistic expression. With this, Museu
Têxtil is dedicated to promoting and valuing
textile art, encouraging the creation of new works
and the refinement of techniques and knowledge
in this field.
Art is a fusion of the real and the utopian, and
Museu Têxtil seeks to expose this interaction
through the emphatic self-referential rhetoric
of innovators from different cultures and
backgrounds. The institution is dedicated to
investigating the representative meaning that
the artist or designer uses when referring to the
senses and the tangible physical world in which
we are immersed. Thus, Museu Têxtil seeks
to unveil the foundations that structure artistic
research, revealing how these professionals
use their senses to create and express their
worldviews through textile art.
Museu Têxtil employs different media formats,
such as audiovisual presentations, exhibition
projects, and thematic or free programs, to
display artworks in its 360-degree virtual
environment. These works emphasize the
importance of textiles in the history of art
and within the social, cultural, political, and
economic context. In this way, Museu Têxtil
offers an immersive and enriching experience
to virtual visitors, enabling a deeper reflection
on the significance and influence of this artistic
language in various aspects of society.
Museu Têxtil also offers an educational area
called Research and Learning, which aims to
broaden the understanding of artistic creation.
This is achieved through interviews with creative
geniuses and scholars of this fascinating and
ancient form of human expression. The goal
is to reinforce the methodologies developed
throughout history by humanity and, thus,
encourage the recovery of the modern for a
better understanding of the contemporary. With
this initiative, Museu Têxtil contributes to the
dissemination of knowledge and appreciation of
textile art, as well as enriching the experience of
its visiting public.
Museu Têxtil

INDEX

CURATOR’S STATEMENT
ARTISTS & ARTWORKS
ALMUDENA TORRÓ
AMARGER
ARIJANA GADŽIJEV
CAMILA LEITE
CATH ORAIN
COEFFICIENTE G
DAGMAR LUCIA ODORIZ
DOROTA WIŚNIEWSKA
ELISA LUTTERAL
EVELYN POLITZER
FRANCES PALGRAVE
GIULIA BERRA
GUILLERMINA BAIGUERA
INGRA LOPES MAIA
JASON KRIEGLER
JOAN BRENDA HUNT
JULIA KIRYANOVA
KARENNE ANN AND HEATHER HORROCKS
KARINA SZTEIN
LAURA KATZ RIZZO
LAURA PATRICIO
LIBBY RAAB
LILIANA ROTHSCHILD
LIZ KUENEKE
LUIZ QUEIROZ
LUSI BOGDANOWICZ
LUZ ANGELA CRUZ
MANUEL HERNÁNDEZ RUIZ
MELODY HESARAKY
NAT
NATSUKO HATTORI
NICOLE HAVEKOST
OLEG KOSTYUCHENKO
OLGA RUDENIA
OLIVIA BABEL
RENATA MEIRELLES
ROXANA CASALE
SARAH FUENTES AND CAMILA SALAMANCA
SUSANA OLAIO
UCA DEA
VERÓNICA GARRIDO CORDOVA
EXHIBITION VIEW
ARTISTS’ BIOGRAPHIES
BIBLIOGRAPHY
6
8
10
12
14
16
18
20
22
24
26
28
30
32
34
36
38
40
42
44
46
48
50
52
54
56
58
60
62
64
66
68
70
72
74
76
78
80
82
84
86
88
90
92
102
118

CURATOR’S
STATEMENT

The exhibition One World emerges as a profound
and necessary reflection on contemporary times,
immersed in issues of global interdependence,
cultural diversity, and the complex dynamics
of globalization. Featuring 41 artists from 19
nationalities and a variety of 88 works, including
videos, textiles, performative photographs,
works on paper, and mixed media, the
exhibition proposes a space for reflection and
dialogue about the cultural intersections that
define our era. The artistic diversity present
in this curation is, in itself, a visual manifesto
against the homogenization of cultures,
defending the uniqueness of each expression
while acknowledging the construction of an
interconnected global fabric.
In today’s world, globalization, often viewed
through an economic and uniformizing lens, has
challenged nations and cultures to rethink what
it means to maintain identity while interacting
in an increasingly interdependent global
system. Classical philosophy, with the work of
Plato, already warned us about the value of
harmony within diversity. However, we now live
in a moment where this harmony seems like
a distant ideal, given the rise of nationalism
and the tensions between preserving local
identities and the forces of a dominant global
culture. Plato’s Republic imagines an ideal
society where differences, far from confronting
each other, contribute to the common good, an
ideal still pursued by contemporary debates on
how cultural diversity can coexist in a fair and
equitable manner.
In line with the issues raised by globalization,
contemporary thinkers like Kwame Anthony
Appiah and Martha Nussbaum have insisted
on the need for an ethical cosmopolitanism
that goes beyond the superficial recognition of
cultures, aiming instead for coexistence based on
empathy and respect for differences. Appiah, in
Cosmopolitanism: Ethics in a World of Strangers
(2006), offers a perspective of cosmopolitanism
that, far from dissolving cultures, proposes
a space of coexistence where each cultural
identity is respected and preserved, but without
abandoning common values that transcend
borders. Nussbaum, in The Cosmopolitan
Tradition (2019), emphasizes the importance of
universal human dignity, suggesting that global
ethics must be founded on the recognition of
the equality of all individuals, regardless of their
origin. One World invites visitors to visually
experience this philosophy, reflecting on human
dignity and the artistic forms that, throughout
history, have given voice to social, political, and
environmental issues that cross cultural and
geographical boundaries.
Postcolonial criticism, represented by thinkers
like Homi K. Bhabha, also provides crucial
foundations for understanding the implications
of contemporary globalization and the
transformation of cultural identities on the
global stage. In The Location of Culture (1994),
Bhabha discusses the formation of new hybrid
identities arising from the encounter between
dominant and subaltern cultures, highlighting the
tension between preserving local cultures and
the pressures for global uniformity. In a context
of rising xenophobia, forced migration, and
nationalist isolation, the works presented in One
World reflect on the possibilities of coexistence
and resistance, providing a space of welcome for
those identities seeking not only to survive but to
flourish in a world that often denies their plurality.
This cultural encounter is not presented as a
mere fusion, but as an exchange that generates
new possibilities for creation and reflection.
The exhibition also takes as its starting point
the social and political tensions of our time. The
growing global inequality, environmental issues,
and forced migration flows demand a new way
of looking at art and culture. What we see in
the works of One World is a reflection of the
current crises that challenge artists to reinvent
their visual language to deal with a world in
which the lines between the local and global
are increasingly blurred. Art, with its capacity to
transcend words, becomes a form of resistance
and denunciation, but also a path to hope and
reconciliation. By bringing to the forefront the
lived experiences of individuals and communities
in contexts of conflict, exclusion, or adaptation,
the works on display remind us of our collective
responsibility to act in favor of a more just and
humane future.
Ultimately, One World is not just an art exhibition;
it is a curatorial platform for critical dialogue
about the most urgent issues of our time. By
invoking both classical and contemporary
philosophies, the exhibition challenges us to
consider how we, as individuals and collectives,
can contribute to a more harmonious, just,
and connected world. In a moment when
individualism and nationalism seem to dominate,
the art presented here becomes a platform
to rethink modes of coexistence, urging us to
embrace differences and build together a shared
future.
Rodrigo Franzão
Curator
7

ARTISTS
& ARTWORKS

ALMUDENA TORRÓ
Spanish
Almudena Torró’s early stages in sculpture
came from a search for expressing
emptiness, which led her to experiment with
metal mesh until it became her means of
expression, transforming and considering
sculptural material. Almudena relies on the
space-light relationship and on the projected
shadows created by the works themselves,
which become changing compositional
elements.
Her ethics are based on essentiality, and her
aesthetics on diversity.
The research project she is working on, and
its common thread, focuses on transformation
through continuous change. In this, nothing
remains the same: energy with constant
activity, destroying and creating, as it
confronts reality and the passage of time.
The sculptures Almudena makes are lived
experiences; they are part of her, of her
soul. She works with an abstract concept,
sculptural construction, combined with
chance, with which she corrects and decides
spontaneously through dynamic action.
Her works have their own language, which
makes the viewer feel integrated into them,
offering a kaleidoscopic look to generate
artistic synergy with the public.
With the Trails series, she expresses the
cycle of life and its decisions by entering
a world of experiences, sensations, and
transformations that lead us to reconnect
with the origin of our primal essence. With
the Jumble series, she delves into the pain of
death and its sense of loss; on one hand, the
loss of a loved one, and on the other, the loss
of oneself.
The É-Panta rei series combines the
experience of the Trails series and the
Jumbles series created in recent years, in
which she has chosen to experience an inner
transformation made from love and freedom,
to value the dignity of each individual, feeling
that “everything flows, nothing stops” in this
vital experience of continuous change.
The Æria series is the intimate connection
with her essence, as Nietzsche said, air is the
very material of our freedom.
É - Panta rei 8, 2021
37,8 x 41,4 x 1,18 in
Credit: Almudena Torró
10

É – Panta rei Au 23, 2022
55,12 x 46,46 x 28,35 in
Credit: Almudena Torró
11

AMARGER
French
She works with medical imagery, paper,
textiles, and new technologies. Her
installations play with the aesthetic factors of
transparency and reflection, exploring themes
of nature, light, and memory.
Her works also undeniably reflect on
humanity, its place in society, the traces it
leaves, the Anthropocene, the fragility of
both humanity and nature, their resulting
interdependence, and the duty to struggle
and preserve.
AMARGER has a deep-rooted interest in the
scientific and medical world, surgery, and
archaeology. She contemplates the current
state of the human body and the future of H+.
She sews together x-rays, which she
embroiders, engraves, and laser cuts,
transplanting and reconstructing the body’s
anatomy, exploring the relationship between
a surgeon and an artist. She has always been
fascinated by the subtle thread that connects
the visible to the invisible, the stratification of
surfaces, and palimpsests. X-rays allow her
an intimate journey within the physical body,
in search of an interior nature, and she enjoys
associating them with textiles, like Jacquard,
by engraving double-sided textures that
are different, sometimes unexpected, thus
revealing a memory of the fabric in the skin.
The diversion of materials for artistic
purposes and memory has always been
essential for her. Sensitive to ecological
issues, AMARGER finds in her artistic
practice a symbolic double direction: creating
artworks by recycling discarded materials.
Currently, she questions the second life of
materials intended for scrap by changing
their initial status of waste. She aims for their
rehabilitation and valorization through artistic
action, transforming them and giving them
new life. Her work offers a societal and artistic
questioning about responsibility and the
consequences of human actions in a society
where production has become synonymous
with destruction: an eco-responsibility that
aims for zero waste.
La Terre entre nos Mains #2 & #5, 2024
91x 26 x 8 in
12
Credit: AMARGER

Homo Naturae, 2024
85 x 75 x 12 in
Credit: AMARGER
13

ARIJANA GADŽIJEV
Slovenian
In recent years, Arijana has started to
work on a smaller scale due to today’s
overconsumption and environmental pollution.
She works with so- called mini-textiles, where
wearable art and smaller textile art objects
are the main medium, all made by hand. She
also likes the idea that an object can be used
in many ways – just as a handmade piece
of jewelry can become a stand-alone room
element. She has always been very fond
of detail and admires small, detailed works
of art from different centuries and nations,
folk art and decorative art as well as the
details of nature. Her textile artwork reflects
a respect for craftsmanship, which in the
eclectic combination of shapes, colors and
author’s patterns represents themes such as
nature conservation, folk heritage and social
inclusion.
The Kaleidoscope Bubble collection of
textile artworks consists of geometric objects
with kaleidoscopic shapes and dynamic
patterns whose iridescent colorful motifs flow,
connect, break and burst like soap bubbles
upon contact with other matter. Each object
is a unique world of thought, representing
the individuality of each human mind and
emphasizing the importance of neurodiversity
and its inclusion in today’s society.
The handmade art objects, digitally printed
on woven textiles with the author’s patterns,
are complemented by embroidered and sewn
elements made of luminous yarn that glows
in the dark when previously exposed to light –
conceptually suggesting that no one can take
away our thoughts, they are always present
within us and our diverse inner world. The
objects are light and soft and can be placed
in the interior as stand-alone room elements,
but they can also become functional objects
such as bracelets and brooches worn on the
body - a personal object, regardless of gender
or age. The Kaleidoscope Bubble collection
celebrates human diversity, because as we
know, being different does not mean being
inferior.
14

Bubble BLUE, 2025
Bubble GREEN, 2025
Bubble PINK, 2025
Bubble YELLOW, 2025
GREEN: 4 x 4 x 2 inches
PINK: 5 x 5 x 3 inches
BLUE: 6 x 6 x 3 inches
YELLOW: 5 x 5 x 5 inches
Credit: ARIJANA GADŽIJEV
15

CAMILA LEITE
Brazilian
Camila Leite has significant poetic,
conceptual, and biographical peers within
Brazilian contemporary art. She began
dedicating herself to art around the age of
forty, without formal academic training in
the field, starting her artistic practice after
motherhood. This biographical familiarity is
shared with the Japanese-Brazilian artist
Tomie Ohtake. In their poetics, both embrace
the gesture of freedom, working with their
hands in a body/mind harmony, becoming
meditative in continuous repetitions: the brush
that moves back and forth, the needle that
punctures and returns. It’s a dialogue with
informal abstractionism, a connection with the
unconscious, emotions, and an association
with elements of nature.
Amélia Toledo is another artist with whom
Camila shares characteristics. Both draw
inspiration from living beings, from the
microscopic ones to the vastness of the
ocean.
Texture, contour, and pictorial richness are
three of the main features found in both
artists, who have a sensitivity to the flavors of
colors and the microcosm of each being.
Camila Leite’s familiarity with Ohtake and
Toledo lies in their way of seeing images, in
how they read worlds. Thus, her work reveals
a bridge capable of connecting embroidery
and painting, a pictorial thinking materialized
in a textile form.
As for textile art, embroidery has been
present in the artist’s life from an early
age, taught by the matriarchs of her family.
Camila’s works showcase different techniques
of varying complexity levels, all passed down
through generations as traditional knowledge.
While her technical skill and diversity are
undeniably impressive, her artistic production
goes beyond manual ability. For all these
reasons, Camila Leite’s work allows one to
go beyond a reading confined to its textile
quality, which is initially apparent to the naked
eye. It is her sensitive capacity that makes
her production immediately captivating. Her
roots are strong and deep, allowing her
production to be fruitful.
Pele, 2024
32 x 20 in
Credit: Camila Leite
16

Portico, 2024
29 x 47 in
Credit: Camila Leite
17

CATH ORAIN
French
Trained in haute couture embroidery
techniques such as needlepoint and tambour
embroidery (Lunéville embroidery) at the
Lesage artistic embroidery school and
Duperré School of Applied Arts in Paris, I like
to combine manual and digital techniques in
my textile creations, favoring the use of biosourced
or reused materials.
I would like to develop innovative projects
in the field of embroidery, using atypical
materials (paper, metal, wood) in addition to
textiles. To this end, I have trained in various
graphic software programs such as Illustrator,
Photoshop, and Fusion 3D, graduated in
textile design in 2023, and learned to use
digital tools (laser cutter, 3D printer) that
enable me to design my own personalized
supplies (paper and wood sequins...) and
experiment with new textile manipulations
using the additive manufacturing process.
As a set painter, I like to combine other
techniques such as watercolor or copper
and silver leaf in my textile productions. I
also create designs for patterns. My favorite
themes are inspired by nature, particularly
flora and fauna, sometimes ecologically
engaged, sometimes poetic.
Since time is running out, 2021
13 x 18 in
Credit: Catherine ORAIN
18

Ready Aim Flowers, 2020
12 x 25.5 in
Credit: Catherine ORAIN
19

COEFFICIENTE G
Italian
He believes that we do not truly own our
ideas or intuitions, but they own us. Just as
matter itself uses us to play with matter, it
uses some people as tools and brushes to
give physical form to its ideas. Rather than
properly following artistic research, Gaetano
is inspired by signals and coincidences that
can be read in the surrounding matter, giving
him the impression that sometimes it is ideas
that are researching him.
Thanks to this source, he came to create
with the golden ratio and plants as a way to
have a positive impact on minds that need
to find a state of calm, given that his belief
is that every living being is connected in
an extended organism that’s probably an
attempt to heal itself. The shapes of plants
and animals coming from nature touch deep
chords in our DNA and instinct, acting as a
key to open certain emotions.
The use of the golden proportion, on the other
hand, transmits the sensation of harmony
in a very direct but unconscious way. Some
works, in their geometric constructions, are
intended more as a natural technology to
give pleasure to an environment than to be
understood by the human eye.
Biophilia Antropocentripeta, 2020
38 x 38 x 1.2 in
Credit: Silvia Frigo
20

Way Of The Swan, 2021
37 x 37 x 1,2 in
Credit: Silvia Frigo
21

DAGMAR LUCIA ODORIZ
Argentinian
Dagmar Odoriz is an abstract artist whose
work stems from a deep connection with
the rural environment, where vastness and
isolation serve as a constant source of
inspiration. Each piece begins with a period
of reflection after visiting a place, whether
new or familiar, allowing the emotions and
sensitivity of the moment to guide her artistic
interpretation.
She works with natural materials such as
plaster, charcoal, graphite, and Chinese
ink, applied on rigid supports that she
manually textures to create depth and a
tactile starting point. From this initial process,
images spontaneously emerge as diluted
ink stains, which later evolve into defined
forms through multiple layers of ink and
charcoal. Her palette focuses on shades of
gray, meticulously developed to construct
the dimension and atmosphere of her
compositions.
El baño de las Diosas, 2024
24 x 60 x 1 in
Credit: Dagmar Lucia Odoriz
Dagmar’s creative process combines
technical skill with emotional depth, achieving
a balance between spontaneity and control.
Each piece challenges her to focus on the
most meaningful details while resisting the
urge to add endless nuances. Through her
art, she aims to invite viewers to pause,
connect, and reflect on the emotions and
landscapes embedded in everyday life.
22

Llegando despacito, 2024
24 x 60 x 1 in
Credit: Dagmar Lucia Odoriz
23

DOROTA WIŚNIEWSKA
Polish
Dorota Wiśniewska lives and works in
Tarnów, Poland. Her work primarily focuses
on artistic textiles, especially the creation of
tapestries that capture moments in motion
from the world around her. Each fragment of
reality is filtered through her unique way of
perceiving the world and her sensitivity, then
transposed into the language of textile. Her
works are snapshots—records of her vision
of the world, encompassing various places,
situations, people, and nature.
In her works, the artist seeks to capture the
multi-layered nature of reality—both literally
and metaphorically. Each tapestry is an
attempt to preserve a moment in motion,
which, through the texture of the fabric, tells a
story of something fleeting yet deeply present.
The textile becomes a medium for memories,
emotions, and daily experiences.
All her works are created in her own studio,
where she designs and handcrafts textiles on
weaving frames, primarily using the tapestry
technique. She works with linen, wool, and
cotton yarns, with a small amount of synthetic
and silk fibers, which give her pieces
textural depth and variety. The artist blends
traditional weaving techniques with a modern
approach, creating works that possess both a
contemporary character and roots in the rich
history of artistic textiles.
Each of her tapestries is not just a work of
art but an invitation to reflect on how art can
reveal the multi-faceted nature of the world
and preserve fleeting moments in material
form.
On the Corner, 2023
17,72 x 11,02 x 1,18 in
Credit: Dorota Wiśniewska
24

Palermo Alley, 2023
16,54 x 12,20 x 1,18 in
Credit: Dorota Wiśniewska
25

ELISA LUTTERAL
Argentinian-american
Elisa Lutteral investigates the social and
political constructs that shape power
dynamics, examining their influence on
human actions and connections to the
more-than-human world. Her work explores
how form generates meaning, engaging with
surfaces, skins, membranes, and contours
to challenge the boundaries imposed
by capitalistic and patriarchal narratives
surrounding land and gender.
Lutteral is deeply drawn to social
behavior and collective consciousness.
Her installations function as tools for
exploration, activated through encounters
and performances, often incorporating
performance film. Recently, she has begun
experimenting with durational performance,
using her body as a medium to intertwine
elements of the environment and time—
both essential materials in her practice.
These works reflect her interest in how
artistic practice can operate as a method of
consciously and unconsciously engaging
with life, as well as a vehicle for personal and
collective transformation.
Her process is rooted in an ongoing dialogue
with her surroundings. She gathers, forages,
collects, and experiments with materials that
resonate with themes of ecological collapse,
collective trauma, and transformation. This
includes ritualistically saving hair after every
haircut and photographing singular gloves
found on the streets. Photography and film
have recently become integral to her daily
recording practice, providing new ways to
map connections.
The braided hands, 2023
20 x 145 in
Credit: Valentina Galeazzi
26

The Braided Gloves_2023
1’ 59’’
Film: Filming and Editing: Shane Singh
Audio: Venoldo Terreus
Filming & Technical Assistance: Adison Irby
BTS & Technical Assistance: Aubrey Wipfli
Performers: Emma Andre, Lluca Huatuco, Sarah
Kramer and Belu-Olisa Pierre Sarkissian
27

EVELYN POLITZER
Uruguayan
Evelyn Politzer is a visual artist
focused on conveying nature’s plea for
interconnectedness through yarn, thread, and
fabric. Using traditional textile methods like
knitting, weaving, and embroidery, she mainly
works with soft hand-dyed fibers to create
unconventional pieces ranging from small
two-dimensional tapestries to monumental
sculptural forms. In addition to the beauty
and fragility of the natural environment,
womanhood and motherhood are also
recurring concepts of Politzer’s work.
She explores materials, texture and color to
connect these ideas and bring them to life
with her hands and heart. Politzer’s practice
has roots in her native land of Uruguay, a
country where sheep outnumber human
inhabitants, and where wool and other natural
fibers continue to be an essential tool for
people’s livelihood, especially women.
The relationship between the fibers she
works with and the place where she was
born evokes the comfort of belonging, no
matter where she is in the world. Over the last
several years, her art practice has evolved
outside of the studio, allowing her to foster
community and create a platform for others
to share their textile art journey. Together
with two other local artists, Politzer created
FAMA-Fiber Artists Miami Association- with
the mission to educate and advance fiber arts
as a contemporary art form. More than 200
local and international members have joined
FAMA as of 2025
Overflowing Dreams, 2022
100 x 110 x 2 in
Credit: Evelyn Politzer
28

Every Drop Counts, 2021
120x180x40in
Credit: Evelyn Politzer
29

FRANCES PALGRAVE
German
Frances Palgrave’s mixed media collage
“Greetings from abroad” (2025) is about the
integrative power of textile art and analogue
networking in the digital age and increasing
uncertain times. Textile techniques like
postcards connect people worldwide - in all
cultures textiles are manufacuted to dress,
keep warm or to make art. The reused
cards tell stories of journeys and special
experiences that the senders want to share
with the recipients and at the same time
reflect the need to connect and exchange.
The worldmap consists of postcards,
collected over the years by the artist,
her family and friends as well as sent by
postcrossers, whose growing community
randomly sends postcards to each other
around the world no matter what background
they come from. Each card in the artwork
marks the location on the map where it was
dispatched, is connected by thread and sewn
on organza. With their motifs and greetings,
the cards form a new materiality that connects
people around the globe with a soft spot for
analogue mail.
The cards with their short notes also stand
for their senders’ openness to travel and
explore new territories as well as sharing
happy experiences and thoughts with their
loved ones at home or penpals worldwide.
Some of these notes from abroad even tell
stories of lifelong friendships and were kept
and preserved over a reassuringly long period
of time.
The dicarded cards, which often disappear
into a drawer and are forgotten after their
long postal journey and a single reading,
also gain a temporal dimension, as past and
present come together in one work. It is often
the same people who like to send and write
poscards over the years.
30

Greetings from Abroad, 2025
43.31 x 33.46 in
Credit: Frances Palgrave
31

GIULIA BERRA
Italian
Contemporary Art loves great dimensions,
interactions, display, grandeur. Giulia Berra
saves for her another glance. Empathic,
close, tactile. Insect wings, feathers, galls,
chrysalises: little fragile things, to be observed
with respect, without touching. Her artistic
research deals mainly with leftovers and
residual elements, found abandoned on the
ground and patiently collected over several
months. The development of her works
is determined by her capability of reading
various territories, by chance and the natural
availability of materials.
Therefore there are no resources, waste
and refuse, with clear references to the
social, economical and environmental
sphere. The poetry of these little things lies
in their specificity and dignity, connected to
humanistic narrations and a horizontal and
not hierarchical glance. The elements appear
in their essence, like delicate drawings
in space. It’s a familiar, but not intimate
dimension, like if we returned to the dawn of
Natural Sciences asking ourselves questions
in a different way.
Berra has a particular focus on spoils and
molting as a metaphor of psychophysical
change and of flying as alternative and
utopian dimension. According to her,
nature is the starting point to make visions
and metaphors about the contemporary
period. Her artistic research investigates
empty spaces, mutations, migrations,
fluctuations, individuality and collectivity,
trying to understand their borders. She
studies processes, biological cycles and their
interactions, their limits.
Cupole, 2014
7 x 11 x 12 in
Credit: Giulia Berra
32

Untitled, 2016
19 x 13 x 12,4 in
Credit: Giulia Berra
33

GUILLERMINA BAIGUERA
Argentinian
Guillermina Baiguera (General Villegas,
Argentina) is a visual artist and teacher.
Her practice and research have largely
focused on embroidery, and she is especially
interested in bringing embroidery work to
challenging or critical situations.
Based on the desire and fascination that
arise from a personal experience, Guillermina
expresses the need to build an archive of
the memory of those unverbalized aspects of
grief. With a surreal and subtle air, she tries
to approach the mental images that appear
to her, exposing the disturbing strangeness
produced by the displacement of something
that was familiar in its original context,
showing that everything is tinged with beauty
and terror.
In addition to working with thread and needle,
her instruments for operating on the world,
she experiments with organic materials, such
as human hair, using textile techniques to
create works that speak to us about issues as
immaterial as fear, pain, regeneration, or the
passage of time.
Fantasías Anni, 2024
27 x 13 in
Credit: Guillermina Baiguera
34

Alimaña, 2024
20 x 16 in
Credit: Guillermina Baiguera
35

INGRA MAIA
Brazilian
Ingra Maia is a Brazilian textile artist,
graduated in Clothing (SENAI-SP - 2013) and
in Sciences and Humanities (Universidade
Federal do ABC - 2017), who works with
traditional and ancestral textile techniques
such as hand weaving and natural dyes.
In 2017, she created Péplos (@peplos_),
a brand of clothing and handcrafted
accessories made with the same textile
techniques. Her goal is to bring more
meaning to clothing and more environmental
consciousness for those who can experience
wearing a piece that is made like it was
in past times, handcrafted and made one
by one. The sensorial aspect of the textile
objects and their particularities also interests
the artist, as she proposes the idea and
symbolism of using cloths as emotional and
sensorial shelters, through touch.
In 2022, she developed a black natural ink
with homegrown berries and other natural
plants from her region and started a small
series of paintings with geometric figures
on handwoven textiles, which is her current
artistic exploration.
She is interested in bringing contemporary
features to each of the techniques she works
with, thus keeping them, at the same time,
updated in the present time and ancestral
in their essence. In her work, she is also
particularly concerned with the valorization of
local materials and the preservation of Latin
American textile techniques. She lives and
develops her work in São Paulo, Brazil.
Labirinto, 2024
33 x 14 x 0.2 in
Credit: Ingra Lopes Maia
36

Apartamento 104, 2024
31 x 16 x 0.2 in
Credit: Ingra Lopes Maia
37

JASON KRIEGLER
American
Kriegler’s linen, cloth & paper embroidery
is refined without yielding to the geometric
abstraction that characterizes the work of
so many minimalist painters from the 20th
century to the present day. His compositions
suggest organic and biological forms,
as well as abstract exteriors, but they can
also experiment purely as combinations of
shapes, lines, and textures. Despite their simplicity,
they have a captivating quality that
rewards a careful look that reveals the complexity
of hand embroidery, enlivened by a
sense of depth that only seems to grow with
continuous examination.
While in art school in the mid-80’s, Kriegler
was intrigued by the rising textile artists,
contemporary art and modernism that were
changing the art scene; especially Bauhaus
and Black Mountain College where new ideas
and techniques were being challenged and
created. Influences of his work were and are
abstract modernist artists; Dubuffet, Alberto
Burri, Anni Albers, Bryce Marden, Oscar
Murillo, Anslem Keifer, Franz Kline, Helen
Frankenthaler, Sheila Hicks, Ruth Asawa, and
Lissy Funk to name a few.
These artists influenced his work and helped
push the boundaries of what textile art or fiber
art is. Painting and textiles can both be intertwined,
infused. ‘Not the norm’ of traditions.
i.e., hand embroidery into different mediums
rather than traditional fabric. He began as a
traditional painter then made the transition
to mixed-media, using found objects and
materials in the early 90’s. Over the past 10
years, he began using embroidery or stitching
into different mediums to create modern
contemporary dimensional forms based on
his experiences traveling and learning about
techniques old and new through the making
of textiles.
FAMILY PRESERVATION, 2024
65.7 x 62.9 inches
Credit: Jason Kriegler
38

METAPHORS OF THE PAST, 2024
65.7 x 62.9 inches
Credit: Jason Kriegler
39

JOAN BRENDA HUNT
Dutch
Everyday life, social themes like diversity and
acceptance, are important drivers that lead
her. When she was little, she wasn’t happy
with her dark hair and being different. Now,
she fosters diversity and tells us that we
should celebrate it instead of letting it divide
us, give it attention instead of ignore that it’s
there. Striving for a better world, maybe that’s
why she loves the use of colors so much:
it can do magic and she applies it to make
the object more lovable despite the harsh
message it sometimes contains. Still, in the
core of her work you will find love for people
and a longing for a better, peaceful world.
After all the negative discussion between
different cultures and religions, she wants
to tell us about the other side by the colorful
wall hanging ‘In Cloth We Trust’, a textile
work about unity in diversity. Made out of
used cotton tea towels that were donated by
people of different cultures. The inner part
that reflects non-western world and the outer
part that reflects western world are foremost
interesting because they are captured in one
piece. The towels stand for ordinary things
cultures have in common. “What other things
that we overlook, unite us more than we
realize?”
Home, 2016
157,5 x 90,5 x 2 in
Credit: Joan Brenda Hunt
Another piece ‘Home’ with its nice bright
green artificial turf and its imprint of a
homeless person, is also about contrast,
characteristic for her work. An expression
of her horrification of what we as a well-todo
civil society can’t seem to accomplish:
taking care of the most vulnerable. At least in
Amsterdam, numerous of them have a hard
time claiming their social rights, having to
prove where they stay in spite of their being
homeless. Art can still work where words
aren’t heard anymore, is her hope while trying
to keep the eyes of the beholder just a little
bit longer, having time to reflect. Being a
multimedia artist, and unfaithful to whatever
rule in artistic form or principles, Joan Brenda
chooses form and media intuitively, all are
subservient to the content she wants to
convey. As a result, her work is very diverse.
40

In Cloth We Trust, 2023
118 x 79 x 2 in
Credit: Joan Brenda Hunt
41

JULIA KIRYANOVA
Dutch
Julia Kiryanova’s work spans tapestry,
painting, and performance, drawing
inspiration from mythology and storytelling.
She weaves her own narratives, blending
ancient myths with contemporary life
experiences. Storytelling plays a central role
in her practice, shaping events, exploring
human connections, delving into life’s
mysteries, and reflecting personal growth.
Each piece Kiryanova creates bridges the gap
between reality and unseen mystical realms,
offering a transformative journey where
fantasy and reality meet. Her work explores
inner and outer conflicts, addressing the
contradictions inherent in identity. Viewing her
practice as a form of spiritual craftsmanship,
she uses performance to provoke thought
and invite introspection, balancing freedom of
expression with vulnerability.
Her fascination with textiles stems from their
historical and cultural significance, as well as
their ability to convey a sense of continuity
across time and space. Kiryanova views
tapestry as a dynamic medium—both ancient
and modern—capable of communicating
powerful messages across cultures and
generations.
Bathing ceremony, 2022
104 x 78 x 0.7 in
Credit: Julia Kiryanova
42

Celebration, 2021
104 x 78 x o,7 in
Credit: Carly Wollaert
43

KARENNE ANN
& HEATHER HORROCKS
Australian
These anthropomorphic portrayals of an old
woman wearing ineffective masks and armour
express the frustration and anger of two
artists from regional Australia who collaborate
as ISOyoh. Photographer Karenne Ann uses
close focus to capture Heather Horrocks
wearing works she has crocheted from
redundant VHS film tape, trying to save
the planet one cassette at a time. ISOyoh
challenges the capitalist model of the solitary
‘hero’ artist. They believe art has the power
to make us stop and think about the terrible
impact of war, misogyny, waste and greed.
They bring wisdom and post-menopausal
power using just a camera and a story-telling
medium that’s heading to landfill.
SHE THE EFFACED wears a WW1 gas mask
that hides her old skin and her exasperation
about man’s inhumanity to man. In WWI
there were never enough masks because
manufacturing weapons too took priority
over medicines and life-saving devices. It
still does. As a mother and grandmother, she
knows why Bob Dylan wrote in Masters of
War: “You’ve thrown the worst fear that can
ever be hurled, fear to bring children Into the
world” and she despairs.
SHE THE KELLY stares out from a helmet
she’s made. Genteel teaspoons – bygone
reminders of class, gender and colonial
exploitation – form the armature for a mask
that protects her from a dangerous world.
Her son, Ned Kelly, notorious Australian bank
robber and horse thief, was hanged in
1880. He fashioned a suit of armour from
repurposed plough parts. She’s used
a crochet hook and old VHS tape for
hers. It looks good but it’s useless. The
photographer’s lens has captured humour
and defiance in the crone’s survival kit of
secondary essentials worn like a necklace
over her mock-chainmail shawl. The tape
itself holds “The True History of the Kelly
Gang” 1970 with Mick Jagger.
She the Kelly, 2023
47.24 x 31.5 in
Credit: Karenne Ann and Heather Horrocks
44

She the Effaced, 2023
47.24 x 31.5 in
Credit: Karenne Ann and Heather Horrocks
45

KARINA SZTEIN
Argentinian
Different creative and linguistic stages have
traversed the evolution of her works. She
began to create abstractions from architectural
floor plans, facades, and volumes
immersed in the landscape. Then she started
to fragment that architecture into geometries
of bright colors that, while conversing with
each other, also began to disintegrate, giving
rise to more organic shapes.
Currently, this trace marks the beginning of
a new dual cycle: on one hand, settling what
has been traversed, and on the other, a new
and constant experimentation. There are
echoes of certain geometric rigor, but she
aims to capture a realm of almost imperceptible
gestures that meld between the pigment,
water, and the tool; something like traces
under the pressure of the material that allows
her to see lights, shadows, and vibrations of
a single monochromatic color. The result is a
subtle rhythm. A rhythm of traces with silences,
pauses, and spaces.
Those spaces find their connection and are
sutured with another tool: her needle.
A needle that came to repair and unify
again, to make way for a new code, aiming
to be universal; something like a mysterious
reading codex that, although indecipherable,
allows us to recognize ourselves as part of
something even greater.
The latest works of the 2024 period explore
the convergence of oil, canvas, threads,
needles, and pin hooks, where the delicate
incorporation of the latter brings forth a new
dimension: through their traces, the needles
imprint the canvas, creating a play of shadows
and lights that transforms corporeality.
From a distance, they blend into a poetic
rhythm, revealing their essence only upon
closer inspection
All the lines fade into the water
61.5 x 45 x 40 in
46
Credit: Karina Sztein

All the invisible lines that remain in the memory of water
36 x 75 x 40 in
Credit: Karina Sztein
47

LAURA KATZ RIZZO
American
I am a choreogra pher, a dancer, a scholar
and teacher, a maker of ritual, a mother, a
woman, and a practitioner of witchcraft who
seeks to learn more about the world and
connect to that world more deeply through
interdisciplinary embodied and symbolic
meaning-making. Inspired by holistic processes
of connection and integration, I literally and
figuratively bind together the theoretical and
practical modalities of dance composition,
dance performance, ethnographic fieldwork,
and oral history with a feminist ideological
commitment to making the personal both
political and transparent.
My work with dance has deepened over time
as it has crossed into the areas of spiritual
practice and problem-solving modality. As
such, my work recognizes and problematizes
the false binaries we have constructed
between body and mind, human and
non-human, truth and fiction, made from a
recursive and reflexive creative process that
mirrors organic development and growth.
Meant to respond rather than dominate
the landscape, my installations reflect
a consideration of both physics and
metaphysics, and exhibit creative
architectural forms inspired by natural
structures and processes like dendritic
branching, neural and mycelial networks.
MoKiMo Arch Portal, 2024
9 X 6 X 3 ft
Credit: Laura Katz Rizzo
48

MoKiMo Wave Portal, 2024
8 X 7 X 4 ft
Credit: Laura Katz Rizzo
49

LAURA PATRICIO
Spanish
Laura is a visual/textile artist, full-time
researcher, and workshop facilitator.
She often finds inspiration in the world around
her. She has transformed the academic
research she was engaged in for more than
a decade into art pieces that seek to explore
the interconnection of all human beings,
the ways we are linked to one another, and
the risks of dehumanization in a world that
considers human needs such as housing or
connection as market commodities.
In creating art she is attempting to question
the state of matters and raise awareness
through thought-provoking exhibitions,
community projects, and workshops. Maps,
threads, and pins are her basic media these
days. Her practice is mainly based on hybrid
textile techniques, such as embroidering or
bobbin-lace, mixed with cartographic work.
For her latest research on the processes of
gentrification and the growth of cities, Laura
has developed a technique that combines
both map-based work and textile techniques,
where the pins mark specific spots on the
map, and the yarn goes over these spots,
creating meaningful itineraries.
She specializes in socially engaged artwork,
sometimes leading groups of people to work
together in craft-making as well as in raising
social awareness.
Demolition, 2024
10,5 x 8,5 x 1,5 in
Credit: Laura Patricio
50

Redlined Manhattan, 2024
16 x 28 x 1 in
Credit: Laura Patricio
51

LIBBY RAAB
American
Weaving is an act of integration. My paper
weaves are about disintegration and the
lifecycle of organic matter. The building blocks
of my weaves are original photographs of
patterns found in nature. Some images are
intentionally “degraded” while others are
exaggerated to create new digital textures
that give the impression of a previously
woven fabric. I will further accelerate the
visual decay by eroding sections of the weave
and/or adding paper raffia to represent past
wounds scarred over. As my art practice
evolves, I continue to discover personal
connections between organic structures and
their similarity to social networks in humans.
My latest body of work investigates this
relationship through the iteration of a custom
weave pattern inspired by slime mold and
lichen. While slime molds spend most of
their lives as separate organisms, upon the
release of a chemical signal, the individual
cells aggregate into a great swarm that work
together and have been known to collectively
solve mazes. Lichen is a combination of
fungus and algae that work together in a
relationship referred to as “mutualism.”
Mutual dependence (lichen) and collaboration
(slime mold) can be found between all kinds
of animal species, including humans.
During times of stress, slime molds and lichen
develop beautiful spore-generating fruiting
bodies that are a natural inspiration to me. In
addition to modeling my weave patterns after
slime molds, I chose images of tree trunks for
the warp that contrast with brightly colored
digital images for the weft. The paper raffia is
a third (over) weave that selectively amplifies
the colors below, like lichen that grows on
rocks and trees. Beyond pure appreciation
for the graphic beauty of molds and lichen,
my hope is that my paper weaves symbolize
the beauty that is possible in community and
sharing resources.
Fragment in Browns, 2024
19 x 8.5 in
Credit: Libby Raab
52

Forest Floor, 2024
21 x 13 in
Credit: Libby Raab
53

LILIANA ROTHSCHILD
Argentinian
The essence of her work lies in plant based
fibers, inspired by her reverence for nature
and sustainability. Her journey led her to the
discover of the Luffa, a plant she cultivates
and transforms into versatile material for her
art. By juxtaposing this ecological medium
with themes of environmental degradation,
she emphasizes respect for the environment
and the intrinsic connection between art and
nature.
Her creative process includes woodcut
stamping where the incisions echo ancient
South American pottery techniques, reflecting
her deep admiration for indigenous cultures.
Moreover, her use of the Luffa is a tribute
to the indigenous peoples of South America
, cultures that have long inspired her with
their profound connection to the land and its
resources. This connection not only honors
their sustainable relationship with earth but
also fosters a dialogue between tradition and
modern ecological consciousness.
Her art reimagines the bonds between
humans and nature, advocating for
sustainable practices and inspiring reflection
on ecological harmony. Looking ahead, she
aims to innovate with sustainable materials,
contributing to global conversations on
climate change, care of the planet and
cultural preservation. Her work celebrates
natures beauty while calling for its
stewardship, uniting art and sustainability as
forces of change.
Hidden Impact, 2024
44,09 x 35,43 in
Credit: Liliana Rothschild
54

From the series S.O.S, 2022
70,87 x 57,87 in
Credit: Liliana Rothschild
55

LIZ KUENEKE
Spanish
Liz Kueneke investigates the relationships
that people have with their environment
through the use of participatory mapping and
embroidery activities. She is fascinated by
the human urban experience and the different
layers of meaning attached to the public
and private spaces that we inhabit, and how
the changes taking place in our cities are
affecting our lives.
She learned stitching from her grandmother
Dorothy who made patchwork quilts in
quilting circles with her close friends. Liz
has taken this tradition and turned it insideout
with her world-renowned project “The
Urban Fabric”. She has taken the concept
of her grandmother’s quilting circles and
transformed them into public embroidery
circles done in the street and amongst
strangers. First, she stitches the map
herself, using what is known as the “running
stitch” in embroidery, but which she prefers
to call her “walking stitch”. She explores
different territories stitch by stitch and lets
the distinct pattern of each city soak into
her consciousness through her eyes and
her fingers. She then takes each map out to
the streets on a foldable embroidery table.
These works are public interventions in
which passersby are invited to participate by
marking significant places for them into the
map.
They mark both positive and negative places
by embroidering symbols into the map with
thread. For example: “Where is the heart of
the city?”, “Where is a place that is positive
for the community?”, “Where is a place
which needs changes?”, or “Where is an
unsafe place?”. Participants are also free to
embroider personal images and words freely
into the borders of the map. During this slow
and meditative process, participants help
each other to stitch, as well as discuss and
debate the issues of their city.
Landschaftstadt Zurich, 2023
39 x 78 in
Credit: Liz Kueneke
56

The Urban Fabric Amsterdam, 2018
39 x 78 in
Credit: Liz Kueneke
57

LUIZ QUEIROZ
Brazilian
Luiz Queiroz uses photography to take care
of what affects him. He captures in the voids,
feels in the landscapes, in the people, in the
environments, what must be created. He is
interested in the human element inserted in
the scene, in the common place. He avoids
the obvious and captures the event in the
lens, in the angle, in the deformation of the
perspective that makes the image unique
and powerful. He establishes an intuitive and
immediate contact with the situation, with the
object, and knows how to capture the mood,
as if stealing the image from the atmosphere,
without interfering with the scene. Like an
image craftsman, he builds the atmosphere
he wants, point by point, expanding the
expressiveness of his work.
Since he was a child, he already knew what
his job would be. He was photographing
at just 8 years old with his father’s Pentax
Spotmatic 35mm. He followed paths
in advertising, collaborating in several
advertising agencies, magazines, catalogs,
technical photography magazines, and
publishers in Brazil. He attended school with
renowned photographers in Europe, where
he lived and worked for a few years. He
learned how to assemble lighting in studios
with Oliviero Toscani, Fabrizio Ferri, and
Bert Stern, among others, developing his
eye for the subtleties of light, shadows, and
angles. He technically prints his story and his
extensive experience as a photographer.
Clowns, 1987
23,6 x 15,7 in
Credit: Luiz Fernando Galvão de Queiroz
Luiz Queiroz has his own style, striking and
recognized from the light, printed on the pupil
of the eye, secrets of good photography, the
studio mirror.
58

Capoeira, 2024
23,6 x 15,7 in
Credit: Luiz Fernando Galvão de Queiroz
59

LUSI BOGDANOWICZ
Ukrainian
Lusi Bogdanowicz explores energy and its
impact on humans within the context of the
Universe.
Her creative pursuits focus on the Quantum
World—an invisible field of energy and
information that connects all beings, objects,
places, and time. She researches the
subconscious and its relationship with the
Universe, examining their interaction and
mutual influence.
The practice of meditation helps her
transcend the perception of time, experience
space, receive information from the Universe,
and translate it into artistic imagery. She
believes that the fusion of consciousness
and the subconscious is the key to an
infinite source of energy, which she strives
to incorporate into her works. She sees
herself as a conduit, driven by a strong
desire to share her discoveries and convey
the complexity of the Universe beyond its
apparent simplicity. The energy present in
every individual and in the cosmos serves as
a unifying force, reminding us that we are all
part of a singular entity.
Her engagement with materials is a study
in itself. She works with the heritage of the
past while integrating modern technologies,
allowing her to combine wool fibers with other
materials, such as silk. This fusion represents
a contemporary reinterpretation of traditions
and a fresh perspective on the future.
The genres of surrealism and ethnosurrealism
enable her to transform ideas
into new artistic forms, enhancing them with
lighting, totemic objects, and ceramics.
Observer, 2024
27.5 x 19.6 x 13.7 in
Credit: Lusi Bogdanowicz
60

Love, 2021
15.7 x 19.6 x 11.8 in
Credit: Lusi Bogdanowicz
61

LUZ ANGELA CRUZ
Colombian
Her artistic work reflects a profound
connection with the world around her. By
combining diverse techniques and materials,
she strives to create pieces that capture the
essence of the beauty and complexity of
nature and life itself.
Her creative process is one of constant
exploration. She immerses herself in
experimentation with forms, colors, and
textures, allowing intuition and instinct to
guide her path. Often, she works with the
deconstruction of basic elements, such as
the circle, to craft compositions that challenge
perception and traditional two-dimensionality.
Her goal is to invite viewers on a visual and
emotional journey. As they engage with her
3D, interwoven, and deconstructed works,
she hopes to inspire them to question reality
and discover new perspectives.
Each piece she creates is a testament to her
passion for creativity and her desire to convey
emotions and experiences through art.
Florura 5, 2025
14.74 x15.74 x 5.11 in
Credit: Luz Angela Cruz
62

Florura 4, 2025
14.74 x15.74 x 5.11 in
Credit: Luz Angela Cruz
63

MANUEL HERNÁNDEZ RUIZ
Colombian
He paints, draws, and makes wooden or
clay pieces from time to time. Comics and
fanzines are sporadic manifestations in which
he expresses more immediate or impulsive
ideas. Themes explored in paintings,
drawings, cutouts, or cardboard figurines only
reveal their true essence in a place outside
what was originally planned. It is difficult
to make something totally convincing, and
yet, from time to time, the paintbrush mocks
the first idiotic idea of certainty, declaring
its independence. He is a tool of something
unknown; the messenger of a primordial
notion floating around. If he is lucky, it can
be harnessed and developed into something
out of it, hoping one day he will be able to
glimpse the messages. He doesn’t know if
there are lessons to be learned from his daily
chores. There is enough to save the day and
change realities.
Meanwhile,
I’m ignorant
and I draw a line.
Great Supranational Flag V, 2024
26.5 x 39.3 x 0,5 in
Credit: Manuel Hernández Ruiz
64

Sometimes I am Ok II, 2024
39 x 59 x 0,5 in
Credit: Manuel Hernández Ruiz
65

MELODY HESARAKY
American
New York-based Textile Designer and artist
Melody Hesaraky is in between the world of
visual art, movement, music, and fashion.
She is known for her paintings that bridge art
and music.
Her work has been published in more than 20
magazines, including The New York Times,
KALTBLUT Magazine, FLAIR, Vanity Teen,
and many more. From an early age, Melody
has been involved in art through drawing
and painting. This impulse toward artistic
creativity, from an early age, nurtured deep
inside her a kind of determination that her
prospective career must be connected to art
and design.
She received her Bachelor’s in 3D Design
and Craft with honors from the University of
Brighton, UK, in 2014, and her MFA in Textile
Design for Fashion from the Academy of
Art University in San Francisco. In a world
obsessed with speed, Hesaraky’s art invites
you to stay still. Her meditative visual art
and repetitive patterns, inspired by sound,
vibration, and energy, encourage the viewer
to be present and practice mindfulness.
Melody Hesaraky founded HES Studio,
a creative print, fashion, and art lab, in
2019 with a focus on slow production and
sustainability.
Oneness, 2021
28 x 36 x 1 in
Credit: Melody Hesaraky
66

In Exploration of Space, 2022
27 x 40 x 1 in
Credit: Melody Hesaraky
67

NAT
Chilean
As a pioneering artist of the technique in
Chile, NAT creates each piece in an original
and unique way, achieving an internal
dialogue between herself, the photographs,
and the materials she uses.
It is a tool for transformation and an
alternative expression to conventional
imagery, transmitting sensations, emotions,
and contrasts between the black-and-white
world and the colors provided by her textile
materials. We also see relief and a different
play between the already-known format and
“stepping out of the format” with the threads.
In her work, we observe the re-signification
of images, expressing feelings that were not
captured by a camera. This gives new life to
each image she works with.
Currently, she works on commissions and in
series that arise from her own perspective
of the world around her. This year, NAT has
been exploring acrylic painting for the creation
of some of her works, thus introducing a
mixed technique in her pieces, especially
in her AFRICA series, which is based on
African patterns intervened with paint and
embroidery.
Mika, 2024
9 x 7 in
Credit: Nat
68

Cuka, 2024
9 x 7 in
Credit: Nat
69

NATSUKO HATTORI
Japanese
Fabric is my chosen medium because it
resonates universally, transcending cultural
and geographic boundaries. It carries a
unique warmth, natural softness, and an
intimate human touch, making it deeply
relatable. This material embodies the essence
of humanity— gentle yet enduring, familiar
yet profound. Within my sculptures, the
act of wrapping becomes a central, almost
meditative ritual, infusing the fabric with layers
of meaning and emotional depth.
Each of my artworks begins with a careful
selection of fabric, chosen for its texture,
color, and story. I cut and shape the material
into cotton-filled spheres, which are then
transformed into vibrant, eye-catching forms.
These spheres, bursting with lively and
sometimes flamboyant colors, are not merely
decorative; they symbolize the varied and
complex inner states of human beings.
The act of wrapping these spheres is both
physical and metaphorical. With every layer,
pain, sadness, and despair are enveloped
and transformed into positive energy, love,
or a prayer for healing and comfort. Through
this process, the fabric becomes a vessel
for renewal, turning hardship into something
meaningful and uplifting.
Through my sculptures, I aim to convey a
sense of happiness and renewal, offering a
celebration of the human spirit. The tactile
quality of fabric invites people to connect with
the artwork on a sensory level, creating a
bridge between art and audience. The pieces
stand as a testament to resilience, showing
how beauty can emerge from adversity
and how connection can arise from shared
experiences.
I hope my work brings joy and a sense of
peace to those who encounter it, fostering an
appreciation for the small, tender gestures
that shape our lives.
Worn stories, 2014
36_x36_x15 in
Credit: Natsuko Hattori
70

Infinity, 2012
25 diameter x 20 in
Credit: Natsuko Hattori
71

NICOLE HAVEKOST
American
Nicole Havekost is fascinated by the body.
She makes work that reflects the increasing
age and slow decay she witnesses in her
changing body. Coarse hair grows in places
that were once smooth. Lungs take in air
and bones degrade. Flesh softens and
slumps. Havekost chooses to accept it all as
revelation and horror.
She is drawn to materials that are both
delicate and familiar; evocative of the body,
lived experience, and memory. She is deeply
interested in process, labor, and compulsive
mark-making that spans both time and
surface. Havekost’s favored tool is a needle;
it changes a surface by piercing a hole and
passing through it. That needle, attached to
thread, however, can repair or even transform
that surface by joining it back to itself or
another material. The act and effects of
destruction can make a form unrecognizable
and new. A repair allows for the recognition
of change within the familiar. Both actions
speak to her experience as a woman and
mother undergoing perpetual and progressive
change in her physical body and evolving
roles in the world.
Havekost makes works with wool felt
and paper; each is a living material, both
malleable and forgiving. Both hold a mark,
much like the skin of a body. These materials
allow the inside and outside to be present
simultaneously, making the fecund visible.
Her work explores this exquisite, mysterious
organism she inhabits that exists beyond her
desires and authority.
Source, 2023
69 x 19 x 19 in
Credit: Nicole Havekost
72

Gape, 2023
32 x 14 x 16 in
Credit: Nicole Havekost
73

OLEG KOSTYUCHENKO
Belarusian
His works are connected with physical
endurance and focus on the body as a
material continuation of the mental. The
object of his research is a person with a
special physical and mental development.
He works in the field of anthropology and
physiology, and part of his searches takes
place directly in autopsy laboratories in order
to study the body and practical anatomy. “The
body is the territory of research that cannot
be observed in all forms.”
In this video, he foresees and reflects the
mass deaths associated with COVID-19 and
the illegal retention of power in Belarus in
2020, as well as the war in Ukraine in 2022.
The act of insubordination as a free action is
the beginning of thinking. The events of 2020
marked the beginning of the revolution and
the ongoing repression to this day. Moreover,
we are already talking not only about the
situation in Belarus, but also about the new
reality around the world.
In the video, he is digging a mass grave.
This mass grave can be used during major
conflicts such as war and crime, as well as
in the present day, it may be used after a
famine, epidemic, or natural disaster.
74

A return visit, 2019
49 sec
Credit: Oleg Kostyuchenko
75

OLGA RUDENIA
Belarusian
Olga’s artistic practice revolves around
capturing moments of transition—when the
canvas ceases to be a flat surface and grows
into an object with depth, where paint takes
on texture, and colors seep in materiality. She
pays special attention to the tactile qualities
of fabric and the translucent nature of colors,
centering her work on the physicality of the
painting. By relinquishing control over the
process, Olga allows the paint to flow freely,
letting the inherent properties of the materials
take the lead.
Inspired by classical techniques, Olga delves
into the complexities of traditional methods
to create visual metaphors, effects, and
illusions. Her aim is to animate color, enabling
it to shift and transform as viewers engage
with the artwork, creating an interactive
experience that evolves with movement.
In her current projects, Olga embarks on a
deeply introspective and reflective journey,
embracing sewing techniques and light,
ethereal materials such as textiles and
fabrics. Her focus on layers and diaphaneity
in prints marks a poignant departure from
her past work with solid, weighty materials.
This shift is not merely technical but is
influenced by childhood memories of her
mother’s sewing and fashion design. These
recollections now guide Olga’s exploration
of soft, flexible forms, weaving her personal
history into her creative process.
As she transitions from painting to sculpture,
and from traditional sculpture to soft, fabriclike
forms, Olga integrates the fluidity of her
artistic expression, with color remaining at the
heart of her practice.
Lands, 2024
26 x 58 in
Credit: Olga Rudenia
76

Lands, 2024
45 x 60 in
Credit: Olga Rudenia
77

OLIVIA BABEL
French
Driven by an unwavering passion for the art
of hand-weaving, her journey has led me to
an enchanting exploration of cartography and
the nuanced concept of territory. Through her
meticulous portrayals of diverse landscapes,
she aims to ignite contemplation on our
profound relationship with the environment.
Her rich tapestry of experiences, woven
from diverse ethnicities spanning Europe,
Africa, Asia, and South America, serves as a
testament to our global interconnectedness.
Each masterpiece she crafts is meticulously
handwoven on looms within my atelier nestled
in Lyon, France, employing traditional French
savoir-faire and premium materials. Her
oeuvre, a manifestation of her cosmopolitan
sensibilities, graces international art galleries,
leaving an indelible mark on viewers
worldwide.
Noteworthy exhibitions include her debut
at the prestigious International Biennial
Contextile in Guimarães, Portugal, and the
Biennial Objet Textile in Roubaix, France,
both in 2018. Subsequently, she showcased
her artistry at various esteemed venues, such
as the gallery Atelier 28 in Lyon, France, in
2019, and her captivating solo exhibition
in Abu Dhabi, UAE, in 2022, alongside
appearances at the international spring art
pop-up in Malmö, Sweden, and a group
exhibition at Habtoor Palace in Dubai, UAE.
Building upon this momentum, 2023 saw the
unveiling of another solo exhibition in Dubai,
coupled with group exhibitions across South
Korea, Turkey, and London, underscoring my
global resonance.
Garden 5, 2023
39 x 31 x 2 in
Credit: Olivia Babel
78

Moon, 2021
59 x 59 x 2 in
Credit: Olivia Babel
79

RENATA MEIRELLES
Brazilian
What constitutes one’s identity? What lies
at the foundation and structure of their
being? What enables someone to embrace
the unknown without fear, to weave the
uncharted, the unfamiliar, the untold?
For Renata, the answer resides in pursuing
alternative paths, without severing her roots.
A return to Brazilian craftsmanship, engaging
in hands-on experimentation with master
artisans of basketry, sewing, and weaving,
incorporating these practices and placing
them in dialogue with contemporary
technologies. Combining techniques such as
nail loom and heat-adhesive bonding, crochet
and 3D printing, lacework and laser cutting.
The artisanal process, a knowledge embodied
through oral tradition and the presence of
weaving hands, unfolds into forms that no
longer conceive threads as interwoven warp
and weft, leading to a textile made of layered
densities and silences, establishing
a distinctive poetics, where form and
counterform alternate in a continuous process
of crafting three-dimensional aerial works – as
in the artwork Velaturas, which is given rise
by layers obtained from the negative fabrics
of the artwork Music Score.
The artist creates a state of suspension
through threads, precise cuts and
seams, knots and voids, where the lightness
of each piece expands across
different scales – sometimes interacting with
the movement of the body, as well
as engaging with the space, constructing
textile installations.
Velatura, 2013
16 x 12 x 8 in
Credit: Renata Meireles
80

Hope, 2021
12 x 10 x 6 in
Credit: Renata Meireles
81

ROXANA CASALE
Argentinian
Elegy Series:
“...few would care to witness this
Drama, for my people are as birds with
Broken wings, left behind the flock... “
(Khalil Gibran)
Displaced, illegal, undocumented, refugees...
People exposed to violence who make the
extreme decision to flee their places of origin
regardless of the risks of running. The routes,
whether by land or sea, are as dangerous
as the situations that are abandoned. The
degree of vulnerability during the journey
is still very high, and is undoubtedly even
greater for women and children, who are
often left lagging behind or meeting even
more painful and terrible fates.
Dispossessed of all humanity, those who
do not reach their destination become
abandoned bodies, then to bones, which,
like those of the animals that live on those
routes, fragment, erode, and blur. They are
thus forgotten. Before leaving, their mothers,
aunts, and grandmothers embroider names
and phone numbers onto their clothing.
Hopefully, this information can facilitate an
eventual reunion, so greatly desired, or the
identification of those who do not succeed.
Roaring Tempest, 2023
18 x 18 x 2,5 in
Credit: Roxana Casale
Textiles become a nexus, a hope, and often
also a protest. Thread and blood have been
understood since time immemorial. The
thread is a metaphor for blood, but also for
destiny: a kind of bridge between those who
left and those who were left behind.
82

Very Few Care, 2024
157 x 19 x 2 in
Credit: Roxana Casale
83

SARAH FUENTES
& CAMILA SALAMANCA
Colombian
The artistic practice of Camila Salamanca
and Sarah Fuentes explores the intersection
of movement and technology, where both the
human body and digital elements take equal
roles in the performance space. Their work
delves into the overlooked moments of everyday
life—emotions, personal experiences,
and nuances that shape the human condition.
By bringing these moments into the spotlight,
they aim to transform them into evocative,
tangible experiences that resonate with the
audience.
Their creative process begins with thorough
research and exploration of a given theme,
blending visual studies with movement exploration.
They examine how the body moves in
space and how it interacts with technological
elements, constantly testing and refining
their ideas until the movement and visuals
come together in perfect harmony. The duo
embraces a collaborative approach, where
experimentation drives the design of each
piece.
For Camila and Sarah, it is essential that the
body and the digital space coexist as equals,
creating a dynamic interaction where each
influences the other. Their work uses tools
such as Kinect sensors, TouchDesigner, and
After Effects, allowing real-time interaction
between the performer and visuals, creating a
continuous flow that reflects their belief in the
symbiotic relationship between human and
digital elements.
Their natural drive for exploration pushes
them to continuously challenge the boundaries
of contemporary performance. Passionate
about discovering new artistic languages,
they create works that merge dance, technology,
and visual art to explore the limitless
possibilities of human expression and technological
interaction.
84

C.R.E.A The Artist’s Journey, 2024
6’ 30”
Credit: Juan José López and David López
85

SUSANA OLAIO
Portuguese
The work explores the relationship between
the artwork and the viewer through the use
of various techniques, tools, and materials.
It privileges the natural world as a source of
inspiration and resource for raw materials,
with the word “transformation” being central.
Oriental philosophies, such as Wabi-sabi,
guide the conception of the artworks,
respecting the essence of the materials. The
author’s intervention arises from the need
to bring this very essence to the surface,
revealing the true nature of the materials.
From natural pigments to sculpted paper
and video, the multidisciplinary body of
work manifests as an experience of sensory
sublimity.
The artistic creation seeks to challenge the
viewer’s perception, providing a reflection
on the beauty found in imperfection and
transience. The goal is to create an emotional
and sensory connection, allowing the viewer
a new form of contemplation and interaction
with the artwork.
By working with oriental philosophies like
Wabi-sabi, the author aims to highlight
the beauty in imperfection and transience,
proposing a new perspective on artistic
creation. The work, by integrating natural
elements and modern technologies, offers
a profound reflection on the relationship
between art and nature, as well as the
transformative capacity of the materials used.
Desmaterialização, 2023
95 x 86,6 x 1,1 in
Credit: Susana Olaio
86

Covilhã, 2022
38 x 48,4 x 2,7 in
Credit: Susana Olaio
87

UCA DEA
Romanian
Equally right- and left-brained, Uca embodies
a constant struggle between logic and
creative spontaneity.
Her preferred medium is an unpopular
0.03”-thick cotton thread. Her unconventional
use of it allows Uca to bring a textural and
tactile quality to her work, resulting in pieces
that are as intricate as they are distinctive and
delectably unique. Art amazes and fascinates
Uca because it makes her think about the
human who created it. She often finds herself
falling a little in love with the human mind and
spirit behind a piece. Through her own art,
she hopes to evoke similar feelings in others.
Uca’s journey began in her childhood,
inspired by her grandmother’s embroidery.
Mesmerized by how simple, colorful threads
were transformed into intricate designs, Uca
developed a fascination with the medium.
Though she never learned to embroider, she
borrowed threads from her grandmother,
driven by curiosity but with no clear plan.
One day, she asked her father for materials
to experiment with, and he provided
dozens of 1.5x1.5-inch wood squares cut
from a log. These blank canvases awaited
transformation. Uca began gluing her
grandmother’s threads onto them, creating
colorful brooches with bold, unexpected color
combinations. These designs showcased her
innate creativity and innovation. Selling her
brooches at artisan fairs and online marked
the start of her artistic journey.
Years later, Uca revisited this technique on
a larger scale, working with bigger pieces of
wood or plywood. This evolution allowed her
to expand the scope and complexity of her
art while staying true to her original approach.
Uca’s works redefine traditional materials
and feature abstract shapes and unusual
color combinations created intuitively, while
also incorporating intricate patterns that
invite viewers to dive deeper into the work to
discover them.
His wrath, 2025
20 x 17.5 x 0.2 in
Credit: Raluca Dordea
88

Tangled Feelings, 2024
11.5 x 16.4 x 0.2 in
Credit: Raluca Dordea
89

VERÓNICA GARRIDO CORDOVA
Chilean
“The Charm of Deterioration” is the name of
Verónica’s new proposal. With her creations,
she wants to celebrate the fragility, subtlety,
and strength of the world of natural fibers,
capturing the unique glow of leaf skeletons,
those very different veins because they
are the vascular tissue of the leaf of a
plant and the sap circulates through them,
communicating the organs of the leaves
with the rest of the plant, the shapes of the
curvilinear roots that emerge from the earth.
Here, there is an immersion in cycles of life,
beauty, decay, and stillness.
Works that reflect a spontaneous work
method, with easily available material
and without limitations, that despite the
digitalization that exists, and more to come,
nature has immense power. It is a work that
already exists; Verónica just invites and helps
us to open our senses and connect.
Natural threads are within reach; it is pure
magic what we have before our eyes. In our
nature, there is always hope, and you can
start over; nothing is lost.
Ocean’s Tears, 2021
14 x 7 x 4 in
Credit: Verónica Garrido Cordova
90

Sunrise, 2021
6 x 5 x 2 in
Credit: Verónica Garrido Cordova
91

EXHIBITION
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ARTISTS’
BIOGRAPHIES

ALMUDENA TORRÓ
Nationality: Spanish
Instagram: @almudena.torro
Website: almudenatorro.com
Almudena Torró was born in Madrid and
currently lives in Alicante. She graduated
in Fine Arts from the Miguel Hernández
University in Elche, Spain. She is a sculptor
of stainless steel metal mesh. In her early
artistic years, she developed her work with
reflections close to the thought of Oteiza, in
the search and investigation of emptiness,
and by the magnificent works of the master
of kinetics and geometry, Eusebio Sempere,
whose works exhibited at the Museum of
Contemporary Art of Alicante Almudena
knows perfectly. The artist, in her desire to
represent her memories and experiences
with autobiographical recursion, reflexively
experiments with the expressiveness of
emptiness, light, and shadows projected in
space. Her exhibitions are a clear example
of the constant oscillation that exists in
contemporary art between matter and
immateriality, between intellectual experience
and artistic experience. Not by chance, her
series Trails and Jumbles show a poetic
logos immersed in the very course of life,
and especially, in the series É-Panta rei, she
brings a suggestive form to the Heraclitean
logic of becoming and the continuous
transformation that regulates life. It can also
be said that the artist draws from the sources
of creative knowledge that the philosopher
María Zambrano associated with the very
fact of feeling the inevitable passage of time
day after day. It is this same creative fabric
that permeates the sculptor’s life experience
and to which she wants to make the viewing
public a part. Torró has exhibited in public
and private institutions, art galleries, and in
various national and international art fairs.
In 2024, she was a finalist in the renowned
Aesthetica Art Magazine. She is currently
working on her next solo exhibition for the
European Union Intellectual Property Office.
AMARGER
Nationality: French
Instagram: @brigitte_amarger
Website: brigitteamarger.com
Brigitte AMARGER (b. 1954, France) is a
Paris-based visual and textile artist, a postgraduate
from Applied Arts High Schools and
the Arts University of Paris, France (1978).
She is a Paris-based artist who creates
mural or sculptural achievements, interior,
and in situ installations that explore themes
of nature, light, memory, science, and the
human being. Her practice includes numerical
techniques, laser cutting and engraving,
textile, mold sculpture, photography, and
painting. She works predominantly with
the mediums of medical imagery, textiles,
luminescent and reflective materials,
handmade paper, and hot glue. She is best
known for her large-scale installations and
works using discarded materials: x-rays,
textiles, and paper. Their diversion and
recycling for artistic, societal, and memory
purposes are essential for her. Sensitive
to ecological issues, her eco-responsible
artistic practice aims for zero waste. Since
1978, AMARGER’s work has been exhibited
internationally in solo and notable group
exhibitions in contemporary art spaces and
museums. Her work has been included in
private and public collections worldwide,
featured in various publications, and has
received numerous distinctions.
ARIJANA GADŽIJEV
Nationality: Slovenian
Instagram: @arijanagadzijev
Website: arijanagadzijev.com
Arijana Gadžijev (1981) holds Master of Arts
in Textile and Fashion Design, is a freelance
designer and assistant professor at Chair
of Textile and Fashion Design, Faculty of
Natural Sciences and Engineering, University
of Ljubljana. Since graduating, she presented
her work in solo and group exhibitions, as
well as in art and design projects at home
and abroad. She has received national and
international awards and prizes for many
of her works. This year she received the
European Textile & Craft Award 2025 for
her collection of wearable art LUmini. In
2021, she received the international BigSEE
Product Design Award 2021 for her textile
jewellery collection for body and home
Slovanka. Her work has been exhibited at the
7th METALLOphone biennial 2024 in Vilnius
(Lithuania), in an exhibition of photographic
artworks at the KCDA Invited International
Exhibition in Vancouver (Canada, 2023),
Washington D.C. and Michigan (USA,
2023- 2024), in galleries in European cities
(Enschede, Madrid, Neuchâtel, Salamanca,
Athens, Porto, Rome and Paris) in 2022-
2024, as part of the international curated
project “On the move, jewels”, at the New
York Jewellery Week 2023 (in the form
of a video), Romanian Jewellery Week
2023 (Bucharest) and Romanian Jewellery
Week - Chisinau Edition 2023 (in Moldova),
Slovenian Jewellery Week (2022, 2023,
2024), Milano Jewellery Week 2022, at
the textile art biennial BIEN 21 in Kranj
(Slovenia, 2021). She is a member of the
Klimt02 Association, a platform for the
communication of international art jewellery
and contemporary arts and crafts. As a textile
designer and artist, she works mainly with
print and design patterns and motifs, which
she applies to various textile art objects.
Combining both manual and digital design
techniques, she likes to explore how the
pattern works on a particular textile form, how
it moves around a particular 3D object, how
it fits into the seam and how it can visually
change the image of the form.
103

CAMILA LEITE
Nationality: Brazilian
Instagram: @camilaleitebastos
Camila Leite learned to embroider with her
grandmother as a child, and her artistic
practice emerges from a sensitivity to the
path that embroidery itself wishes to follow.
In her compositions, the artist uses vintage
materials, often collected and produced by
other women, bringing a unique dimension to
the idea of a patchwork quilt. Interested in the
composition of colors and layering of fabrics,
as well as a wide range of stitch types and
thread textures, her embroideries create microscopic
units and bodies that represent life.
CATH ORAIN
Nationality: French
Instagram: @cathorain and
@wildcathpatterns
Cath Orain is a French embroidery designer
and set painter based in Paris. The story
begins in 2008, when she traveled to a
friend’s home in Dakar and volunteered to
give paper-folding lessons to children at a
social center. In exchange, the woman in
charge invited her to take part in introductory
embroidery and dyeing classes with the
center’s young girls. Back in Paris, she
joined a collective of embroiderers and
began figurative textile research on sensitive
subjects such as the female condition and
the climate crisis. In 2012, she joined the
French artists’ collective “Fiber Art Fever,”
took courses at the famous “Lesage school,”
and began exhibiting her work at the Festival
“Les uns chez les autres,” organized by
Paris City Hall, and at the Manufacture de
Roubaix (Museum of Memory and Textile
Design). Since 2013, her creations have been
regularly exhibited in Europe (France, UK,
Sweden, Italy) and the USA, and published in
the press (Connaissance des Arts, Mr X Stitch
“The Cutting & Stitching Edge,” The Untitled
Magazine, Fiber Art Now...).
COEFFICIENTE G
Nationality: Italian
Instagram: @coefficiente_g
Website: gigarte.com/gaetanofrigo
Gaetano Frigo, 31 years old, lives and works
in Vicenza, Italy. The elements that make
Gaetano’s work recognizable are certainly
the silhouettes of the plants omnipresent
in the paintings, and the characteristic way
of working only with bleach by subtraction
(brushing and spraying it) on single-color
fabric bases, as if to lighten them, expressing
interest in the connection between nature,
mental activities, and the physical health of
human beings. This medium, discovered
in 2019, has become his favorite, although
since 2016 he has been experimenting in
various ways with markers dissolved in
alcohol, mirrors, salt crystallizations, and
he still secretly enjoys creating other works
attributable to nature and its transformations.
Before rediscovering his passion for the
visual arts, he composed electronic music for
ten years, discovering that sometimes ideas
do not come from us but are an expression
of physical matter itself that uses us as a
medium. Growing up watching his carpenter
father create everything out of wood in their
home, he assimilated and recognized the
value of craftsmanship and attention to detail.
In recent years, he has begun to obtain small
awards as a finalist in some competitions,
such as in the ninth edition of the Cramum
Prize in Milan and in the sixteenth edition of
the Arte Laguna Prize in Venice.
104

DAGMAR LUCIA ODORIZ
Nationality: Argentinian
Instagram: @dagmar.creando.art
A self-taught abstract painter, Dagmar Odoriz
creates works that explore the connection
between place, time, and emotions,
elements ever-present in everyday life.
Her art invites you to pause amidst the
whirlwind of modern life and reflect on these
essential connections. She works on rigid
supports, handcrafted with a textured paste
made from plaster, charcoal, and ashes,
complemented by pigments and adhesives
to achieve compositions with profound depth.
Her techniques, including graphite drawing,
Chinese ink, and charcoal, bring sensitivity
and harmony to her creations, blending
human experience with natural elements.
Despite being self-taught, her talent has
been recognized in prestigious artistic spaces
such as the Maggs Gallery’s Palazzo Expo.
She was awarded the first prize in the Winter
Collection of Galería Braque, solidifying
her place as an innovative voice in abstract
painting. Her works serve as a bridge
between the natural environment and human
introspection, inviting viewers to reconnect
with what truly matters.
DOROTA WIŚNIEWSKA
Nationality: Polish
Instagram: @dorotka.tka
Website: wisniewskaart.pl
She was born in 1969. In 1989, she
graduated with honors in Artistic Weaving
from the Tarnów Secondary School of Fine
Arts. Between 1991 and 1993, she completed
vocational studies in Architectural Detail
Conservation at the University of Opole (Nysa
Campus). In 1997, she completed a one-year
program in Public Relations and Advertising.
Since 1995, she has been working for various
companies as a marketing and advertising
specialist. She is also involved in graphic
design, although artistic weaving remains
her primary artistic focus. In recent years,
her creative endeavors in this field have
intensified, resulting in participation in both
solo and group exhibitions. For example,
in 2022, she presented a solo exhibition
titled „Multithreading” at the Bema 20
Foundation Gallery in Tarnów. In 2024, two
of her tapestries were featured in the 12th
International Artistic Linen Cloth Biennial
in Krosno, and a tapestry miniature was
accepted for the 13th edition of Baltic Mini
Textile Gdynia, which will take place in 2025
under the theme Community.
ELISA LUTTERAL
Nationality: Argentinian-american
Instagram: @elilutteral
Elisa Lutteral (born 1992, NY, U.S.) is an
Argentinean/American multidisciplinary artist
based in New York, U.S. Lutteral attended
the University of Buenos Aires (FADU,
2015), where she later worked as a lecturer
and teacher (2016). She holds an MFA in
Textiles from Parsons, The New School for
Design (2023). Elisa has participated in the
Sakata Orimono residency in Hirokawa,
Fukuoka, Japan, the Emma Kreativzentrum
Pforzheim Residency, Pforzheim, Germany,
the NYLAAT residency program, New York,
U.S., and the HDTS (High Desert Test Sites)
residency in Joshua Tree, U.S. Lutteral has
recently received the VSC/Windgate Artist
Fellowship and attended the Vermont Studio
Center residency in Johnson, Vermont,
U.S. In 2025, she will take part in the NYFA
Mentoring Program for Immigrant Artists. Her
work has been exhibited at Talente in Munich,
Germany, Laguna Mexico during Mexico Art
Week, and Super Gallery, Vienna, Austria.
Her work has also been exhibited at L Space
Gallery, Picture Theory Gallery, 1923 Gallery,
and PTM Contemporary in New York, U.S.
105

EVELYN POLITZER
Nationality: Uruguayan
Instagram: @evelynpolitzer
Website: evelynpolitzer.com
Evelyn Politzer, originally from Uruguay,
now lives and works in Miami, Florida. After
attending law school in Montevideo, Uruguay
and moving to the United States, she
pursued her passion for art. Evelyn is a 2020
recipient of the Ellies Creator Award from
Oolite Arts Organization and graduated with
her MFA in Visual Arts in 2021 from Miami
International University of Art and Design.
Politzer’s solo exhibitions include “Felt
Dreamscapes” 2024 at the Ft Lauderdale
Airport, Terminal 2; “Nature and History”
2023 at the Hidden Garden in Pinecrest
Gardens, FL; “Tree Huggers and Nests. The
art of Evelyn Politzer” 2022 at Miami Beach
Botanical Garden; “Invisible Threads” 2021
at Hialeah Cultural Center, Miami Dade
College; and “Knitting as Poetry, Reflections
on the Natural Environment” 2018 in The Eye
Has to Travel Gallery, Miami International
Airport, American Airlines Terminal. Selected
2024 group exhibitions include “Oolite Arts
in the Gardens’’ at Pinecrest Gardens;
“Conceptually Green” at Arts Warehouse in
Delray Beach, FL; “La Mujer y sus Causas” at
the Instituto Cultural Mexico in Coral Gables;
and “American Heartbeats” at Museum
of Contemporary Arts of the Americas in
Kendall, FL. Working in fiber art allows her to
foster community, bringing people together.
Politzer has co-organized World Wide Knit
in Public Day in Miami (2016-2019). During
the 2020 pandemic, Evelyn felt compelled
to create a platform for others to share their
textile art journey. Together with two other
local artists FAMA - Fiber Artists Miami
Association was born, with the mission to
educate and advance contemporary textile art
in Miami.
FRANCES PALGRAVE
Nationality: German
Instagram: @mystitchart
Website: mystitchart.jimdofree.com
Textile artist Frances Palgrave lives and
works in Hamburg, Germany. Following a
lifelong interest in photography, painting,
and drawing, Frances Palgrave began
her journey into textile art in 2015. In her
free-motion stitch drawings, fabric collages,
and embroidered sculptures, the self-taught
artist explores stories of everyday life and the
relationship of the self to nature. She often
transfers her textiles and materials into new
contexts depending on their color, structure,
and history of use.
GIULIA BERRA
Nationality: Italian
Instagram: @berra_giulia
Website: giuliaberra.com
Giulia Berra was born on the 3rd of April
1985 in Cremona (Italy). She lives and works
between Cremona and Turin, where she is
professor of Artistic Anathomy at Accademia
Albertina di Belle Arti di Torino. As visual
artist, she exposes in group and solo exhibitions
in Italy and abroad, developing projects
deeply connected with nature, architecture
and heritage. Selected for JCE Biennale
2015-2017, that involved seven European
Countries, in 2016, during her JCE artistic
residency at Amarante (Portugal) she realized
two site specific installations made with fibers
and natural leftovers for the Museu Municipal
Amadeo De Souza_Cardoso. In 2019 she
won the first prize of Premio Internazionale
Generazione Contemporanea and she was
finalist of Talent Prize and VAF Foundation
Prize, with exhibitions at Mattatoio, Rome,
Mart Museum (Rovereto, Italy) and Stadtgalerie
Kiel( (Germany). In 2020/21 she was
resident artist in Berlin thanks to the Fresh
A.I.R. Scholarship Program by Berliner Leben
Foundation. In 2022 she won the special
prize Emmanuele F.M. Emanuele of Talent
Prize. In 2023 she took part to the textile
biennial BIEN 2023 (Kranj, Slovenia) and she
realized Topografia dell’attesa, an artist room
for Flashback Habitat, Turin. In 2024 she contributed
to revitalize the HorticulturalGarden
at Kranj, Slovenia, with the residency project
BIENlife.
106

GUILLERMINA BAIGUERA
Nationality: Argentinian
Instagram: @guillerminabaiguera
Guillermina Baiguera was born in General
Villegas, 1979. Visual artist and teacher.
Lives and works in Buenos Aires, Argentina.
She studied graphic design at the University
of Buenos Aires. In the field of visual arts,
she has participated in workshops for artists
since 2010 and until 2020. Her practice
and research have largely focused on
embroidery. She is particularly interested in
taking needlework into challenging or critical
situations. In this sense, she incorporated
drawing, sculpture or sculptural objects,
ceramics and also organic materials such
as human hair, her most recent research.
In her work, one can read the history of
embroidery, but above all a deconstruction
of embroidery, if not a destruction. Her works
are treatises that annihilate the very idea
of needlework. She has shown her work in
Argentina, Colombia, México, U.K., Germany,
Japan and the United States, where she
lived for two years. She received important
distinctions such as the First Textile Prize
of the National Salon of Visual Arts 20/21
and the Scholarship of the National Fund for
the Arts in 2014. Last year, she participated
in the Research and Creation residency in
Biomaterials of CheLA, exACTa Foundation
and in 2021 in the NARA artistic residency
(Villa de Leyva, Colombia). As an artist, she
collaborates with different publishing projects:
the recent book Nosotras Cautivas (Ediciones
Bucle, 2023), the catalogue Tejer las Piedras
(MALBA, 2022), the digital book Dibujo
Contemporáneo en la Argentina (2015),
and the one published by Planta Editora:
Traveseando (Premio ALIJA, 2011), among
others. Teaching occupies a significant part of
her artistic work. Since 2008, she has given
classes and seminars in other parts of the
world in the flow of her work in Argentina, in
her workshop and other institutions.
INGRA MAIA
Nationality: Brazilian
Instagram: @peplos_
Website: peplos.com.br
After years of study and exploration with natural
dyes, Ingra Maia developed a black natural
ink, made with ingredients she harvested
from her own home garden in São Paulo,
such as a Brazilian berry called “jaboticaba.”
With that, she could finally start experimenting
with painting on her handwoven textiles,
made with thin recycled cotton yarn on a
rigid heddle loom. The meticulous geometric
patterns she then started painting on the
cotton surfaces are part of a style she began
exploring in 2015, but at that time, using pen
and paper. The patterns of each piece are
created spontaneously as she paints them,
each figure filling the space like a puzzle.
For the artist, the sensory experience plays
an important role during the art-making, as
the sensations while holding and moving the
brush on the raw cotton surface inspire movement
and the creation of forms. That makes
the process interesting, as it is very intuitive,
which creates a contrast to the expectation of
rationality when looking at geometric figures
such as these. The pieces allude to the aesthetics
of ancient tribal patterns but in a very
disconnected way, with no defined pattern or
repetition intended. With this series, the artist
achieves the goal of expressing her experience
as a contemporary artist while having
access to, dedicating herself to studying, understanding,
and living ancestral techniques,
and preserving them.
JASON KRIEGLER
Nationality: American
Instagram: @jasonkriegler
Website: jasonkriegler.com
Kriegler’s work has been exhibited both within
the U.S. and internationally. He currently lives
and works in Mexico City, Mexico. “I have a
deep interest in the stories, application,
materials and techniques which have been
told through textiles and the people that create
them: the historical nature of man-made
creations from different regions, tribes or villages
which construct these intricate pieces.
Men and women contributing to conceive
unique works through the making of textiles.
Ceremonial, everyday use, wearables, trade
or decoration: shapes, patterns, color and
ideas unfold through the centuries.” - Jason
Kriegler
107

JOAN BRENDA HUNT
Nationality: Dutch
Instagram: @joanbrendahunt
Website: joanbrendahunt.com
Joan Brenda Hunt is a multimedia artist, born,
raised, and based in Amsterdam. Of Dutch-
Indonesian colonial descent, her parents
came to the Netherlands in the mid-fifties.
They were creative persons themselves and
taught her from when she was little important
basics like drawing, painting, sewing and
sent her to an art school for children because
she was always busy making things. Despite
her big dream of becoming an artist, she
didn’t study art immediately because she
was shy and insecure about it. Instead, she
got a master degree in Spanish to become
a teacher, but ended up in other jobs,
marriage and motherhood. In addition she
continued to develop herself in art, followed
by a 3-year art academy later in life. But
when her art projects grew bigger and more
intensive, she quit her job and had a first
solo exhibition in 2023. Always exploring
new media, she loves working at the nearby
public workshop for metal and woodworking
to learn new techniques and expand her
possibilities. She has been active for several
years as a volunteer at a studio for artists
with disabilities. Lately, she has been working
with other artists and social initiatives she
supports. As a ‘second generation Indo’,
she also helps to collect objects and stories
from the Dutch-Indonesian colonial legacy
because the first generation that came to
the Netherlands disappears with all their
knowledge. To intertwine these stories in
contemporary art is a new goal she’s aiming
at.
JULIA KIRYANOVA
Nationality: Dutch
Instagram: @juulskiryanova
Website: juliakiryanova.com
Represented by: Rademakers Gallery
Julia Kiryanova is a multidisciplinary artist
based in Amsterdam, The Netherlands. Born
in Kazakhstan and raised in Sterlitamak,
Bashkortostan (formerly USSR), Julia began
her artistic journey at age 7 when her mother
enrolled her in art school. She attended
several art schools and graduated with strong
foundational skills. After completing her
studies at the College of Art in Sterlitamak,
Julia moved to Sweden, where she held
her first international exhibition at Virserum
Kunsthall in 2012. She later spent a year
in Odense, Denmark, before settling in The
Netherlands. There, she continued her art
education at the Royal Academy of Art in
The Hague (2016–2017) and the Gerrit
Rietveld Academie (2017–2018). In 2022
and 2023, Julia was twice nominated for
The Royal Award for Modern Painting in The
Netherlands. Her work has been featured
at various prestigious venues, including
the Royal Palace of Amsterdam, the Dutch
Ministry of Foreign Affairs in Brussels, Galerie
Maurits Van De Laar, Cokkie Snoei Gallery,
Torch Gallery, Art Rotterdam, Grauzone
Festival, Amsterdam Museum, Museum Ons’
Lieve Heer op Solder, the National Holocaust
Museum, Gallery Untitled, Josilda da
Conceição Gallery, and SBK Gallery. She is
currently represented by Rademakers Gallery.
J. Kiryanova’s practice is supported by key
Dutch cultural funds, including Mondriaan
Fonds, Amsterdams Fonds voor de Kunst
(AFK), Gemeente Amsterdam Zuid, and
Cultuurfonds.
KARENNE ANN
& HEATHER HORROCKS
Nationality: Australian
Instagram: @isoyoh13
WEBSITE: karenneann.com
Ann and Horrocks, who live on Wadawurrung
land in Victoria, south-east Australia, met
through their separate creative practices two
decades ago. Proudly declaring themselves
‘crones’, they led the classic life journey of
women whose family and work life came first
in their earlier decades. In 2022 they formed
a collaboration they named ISOyoh (‘ISO’
for how sensitive a camera is to light, and
‘yoh’ for ‘yarn over hook’, a universal knitting
and crochet instruction). Mid-Covid Heather
stitched a gold granny-square mask for a
bronze bust of Australian Prime Minister Julia
Gillard in the Ballarat Botanical Gardens.
It was removed by security but Horrocks
replaced it. Over and over again. One is now
in the collection of the Melbourne Museum.
Horrocks then began contemplating other
masks in history, starting with a 17th century
bird-beaked plague doctor mask. Her masks
use hundreds of metres of black film from
discarded VHS tapes. The embodied stories
are crocheted into new narratives which
reference historical figures such as Celtic
warriors and 21st century Australian feminist
heroes. Horrocks’ practice is almost entirely
focussed on recycling, repurposing and reimagining
unloved materials. Similarly, Ann
often reuses and repurposes materials in
her practice and in doing so interrogates the
spaces inhabited by incomplete, damaged,
or distressed memories. Ann’s past work has
explored the effects of wrapping, exposing,
swaddling and setting fire to objects. ​Initially,
Horrocks hired Ann to document her masks.
However, in the process of photographing
them they realised the power inherent in the
masks as photographed objects when they
were worn by Horrocks, their maker. In 2023
over 60,000 people saw their exhibition,
Effacement, at the Art Gallery of Ballarat
for Ballarat’s international Foto biennale.
They have since had success Australiawide,
including as finalists in the prestigious
Bowness Photographic Art Prize at the
Museum of Australian Photography.
108

KARINA SZTEIN
Nationality: Argentinian
Instagram: @ksztein.art
Website: karinasztein.com
She currently attends the Clinic and Laboratory
of Visual Artist Leila Tschopp. Entreveros
International Seminar, Carving the Fabric,
with Alejandra Mizrahi, Noe Foundation,
Kirchner Cultural Center, August 2023.
Interdisciplinary Workshop on Creative
Processes Project 8, directed by Francisca
Kweitel (2023). Tuning Laboratory, Leila
Tschopp (2023). Workshop and Work Clinic
with the artist Carolina Antoniadis (2017-
2022). Watercolor, Drawing, and Chinese Ink
Workshop, National University of the Arts,
Prof. Ruben Grau, Buenos Aires (2022).
Workshop with the artist Sebastián Masegoza
(2022). Abstract Drawing, taught by
Prof. Trevor Tubelle, Stanford University, CA
(2021). Argentine Geometric Painting, with
curator Rodrigo Alonso, MACBA (2021).
Contemporary Art Course with the artist
María Santi (2021). Construction clinic with
Lic. María Carolina Baulo (2021). Writing
workshop about the work of art itself with Lic.
Laura Casanovas (2021). Artist Book with
Carla Beretta (2021). Modern Art taught by
Dr. Hugo Petruschansky (Since 2016).
LAURA KATZ RIZZO
Nationality: American
Instagram: @laurakatzrizzo
Website: laurakatzrizzo.com
Laura Katz Rizzo is a dancer, teacher, artist,
mother, and witch. Her interdisciplinary work
lies at the intersection of physical dance
practice, somatic inquiry, and metaphysical
meaning-making. Trained in classical
ballet, she went on to have a brief career
as a classical ballet dancer. Needing to
develop an understanding of context, she
pursued a BA in History. Katz then went on
to receive an Ed.M. in Dance and a Ph.D. in
Dance and Gender Studies. These different
methodologies have all combined in Katz’s
work, which creates embodied pieces that
give voice to the multiple, shifting, and
transient nature of truth and experience.
Her work seeks to generate a sense of
symbolic gestural meaning-making through
ritualized movement. A theme or motif
of connection, integration, and mending
has emerged as central to her practice/
praxis. The metaphoric language, ritual,
and choreography of witchcraft, carried out
through the performance of spellcasting,
challenges dominant religious, social, and
cultural norms that preserve an illusory split
between body and mind, real and imagined.
For Rizzo artmaking is a rituals process
and choreography of world-building; giving
meaning and shape to human experience and
helping to create and imagine new spaces of
transformative power that hold within them
the potential to re-imagine, re-order, and reframe
our experience, embodying the spiritual
tenet “as above, so below.”
LAURA PATRICIO
Nationality: Spanish
Instagram: @laura.to.the.lighthouse
Laura Lighthouse (b. 1980, Barcelona) is an
artist with a strong academic foundation in
both philosophy and visual arts. She earned
a BFA and a Master’s in Representation of
Multicultural Identities from the University of
Barcelona. After receiving the Ramon Llull
Award for philosophical thought, Laura shifted
her focus from research to her growing
passion for expressing sociological concepts
through visual media. Having lived in London
and Berlin, two cities significantly impacted
by gentrification, Laura’s recent work
explores themes such as globalization, urban
displacement, and the reclamation of urban
space as a way to build community. These
subjects have become central to her artistic
practice, which addresses contemporary
social issues and the effects of the
transformations cities undergo when places
become commodities. Laura has participated
in several group exhibitions, where her work
has sparked discussions on the intersection
of social change and community life. At the
moment her latest work is displayed in a
solo exhibition, which focuses on the growth
and development of cities and the need to
maintain our humanity. Through her art,
Laura continues to examine and interpret the
shifting dynamics of urban environments.
109

LIBBY RAAB
Nationality: American
Instagram: @liesel.scribbles
Website: libbyraabart.com
Libby Raab is an architect and paper weaver
based in the San Francisco Bay Area. She
works with photo and paper weaving as an
exploration of colors, textures, and patterns.
Libby believes that, like architecture, weaving
is a form of spatial expression and material
experimentation. Her work explores the
intersection of geometry, digital technology,
and nature. By hand weaving original photos
that have been digitally altered, Libby aims
to create a dialogue between tradition
and innovation, organic and synthetic
textures, reality, and illusion. Just as Libby
believes that good residential architecture
is connected, personal, and intimate, she
also strives to find personal connections in
her artwork. Since beginning her art practice
in 2021, Libby’s works have been shown in
multiple magazines, a solo gallery show, as
well as a museum exhibit. Libby holds a BA
in Psychology from DePauw University and
a BArch from Boston Architectural College.
She has been practicing architecture for
over 25 years and established Libby Raab
Architecture (LRA) in 2015.
LILIANA ROTHSCHILD
Nationality: Argentinian
Instagram: @liliana.rothschild
Born in Buenos Aires, Argentina, she began
her artistic training at the School of Fine
Arts, where she acquired the foundational
skills that shaped her creative career. Aftre
graduating, she expanded her expertise
through postgraduate studies in the Escuela
Superior Ernesto de La Cárcova in various
disciplines such as textile art, printmaking,
photography, pre-Columbian art, and material
resistance. This process not only enriched
her technique but also broadened her
cultural perspective. Her travels through the
whole American continent deeply influenced
her work , instilling a genuine connection
to Americanist roots and becoming an
essential source of inspiration. Commited
to environmental preservation, she found
her ideal means of expression in textile art.
She experiments with plant-based fibers,
especially Luffa which she cultivates herself
as a symbol of sustainability and respect
for natural processes. Her works seek to
harmonize humanity with nature, blending the
symbolism of ancestral cultures with organic
material. She has received distinguished
mentions and awards. Her work has been
selected and exhibited in institutions,
museums and galleries across more than 20
countries, including Argentina, Uruguay,Peru,
Ecuador, Colombia,U.S.A.,Canada, Lithuania,
Switzerland, Spain, Germany, Belgium,
Slovakia,England, Serbia, France, Portugal,
China and Australia. Additionally, they are
part of the heritage of prestigious museums
and collections as the Janina Mankuté-Marks
Museum in Lithuania, The University of South
Dakota in the U.S.A., Le Centre des Textiles
Contemporains in Montreal, Canada, and the
Eduardo Sívori Museum in Buenos Aires.
Her work is also featured in the book
“Colección de Arte Textil” from the Eduardo
Sívori Museum and numerous private
collections in Argentina, Uruguay, Ecuador,
France, Spain, Germany and Belgium
LIZ KUENEKE
Nationality: Spanish
Instagram: @liz.kueneke
Website: lizkueneke.com
Born in Chicago in 1976, Liz Kueneke
received a dual degree in Fine Arts and
French Literature in 1998 from Georgetown
University, and a Master of Fine Arts degree
from Claremont Graduate University (Los
Angeles) in 2001. She has exhibited her art
on several continents…in museums, galleries,
alternative spaces, and also textile exhibitions
such as the Bienal de Aguja e Hilo (Biennial
of Needle and Thread) in Barcelona, and
Xtant in Palma de Mallorca (2024). In addition
to her artistic practice she also curates
exhibitions and is an arts educator. She has
taught art classes in several universities in
the United States, and has given workshops
in Spain in several universities to art and
architecture students on psychogeography
and participatory mapping. She currently
teaches workshops and classes in Spain and
Switzerland to small groups of students. Her
work has been featured in several academic
papers in Sweden, Spain, Argentina and
Italy, as well as many published art books
such as “Hoopla: The Art of Unexpected
Embroidery”, “You are Here NYC: Mapping
the Soul of the City”, “A Different Kind of
Ethnography”, and “Mapping Different
Geographies”, among others. Her project
“The Urban Fabric” has taken place in Fez
(Morocco), Quito (Ecuador), Bangalore
(India), Barcelona (Spain), and in New York
City (USA). Similar projects have taken place
in Los Angeles (USA), Ibiza (Spain), Zurich
and Sarnen (Switzerland), Sefrou (Morocco),
Riobamba (Ecuador), and Amsterdam
(The Netherlands). “The Urban Fabric” was
selected to be part of the exhibition for Habitat
III, the conference on urban sustainability
of The United Nations. This took place in
October, 2016 in the Museum of the City in
Quito, Ecuador. New projects are planned for
2025 in Hamburg and Rotenburg (Germany)
and in Guadalajara (Mexico).
110

LUIZ QUEIROZ
Nationality: Brazilian
Instagram: @luizqueiroz_fotografiaearte
Website: luizqueiroz.com
Luiz Queiroz, photographer, born in 1962, is
from São Paulo, the capital, where he lives
and works. He began taking photographs
at the age of just 8 with his father’s Pentax
Spotmatic 35mm. He studied with renowned
photographers in Europe, more specifically
in London and Milan, where he lived and
worked for a few years. He learned how
to set up lighting in studios with Oliviero
Toscani, Fabrizio Ferri, and Bert Stern,
among others, developing his eye for the
subtleties of light, shadows, and angles. He
followed paths in advertising, fashion, beauty,
and portraits, collaborating with several
advertising agencies, magazines, catalogs,
photography magazines, and publishers in
Brazil and Milan, Italy. He has participated in
several group exhibitions, such as the Vitoria
de Gasteis International Exhibition on Music
in Spain, and four solo exhibitions in places
such as the Pinacoteca de São Bernardo do
Campo in 2019. As an artist, his first photo
was published in the Artrilha magazine in
Bauru, SP in 2022.
LUSI BOGDANOWICZ
Nationality: Ukranian
Instagram: @lusiko_wool_studio
Lusi Bogdanowicz was born in Kryvyi Rih,
Ukraine, in 1974. She currently lives in
Giżycko, Poland. She graduated from Kryvyi
Rih Pedagogical University, Faculty of Art and
Graphics. From 2000 to 2010, she worked
as a designer in an advertising agency. From
2011 to 2020, she worked as a freelance
artist, creating soft sculptures and traditional
artworks. Since 2021, she has established
herself as a contemporary textile artist. She
has been participating in exhibitions, creating
works in the surrealist genre, and working
with textiles and felting. For Bogdanowicz, the
primary source of inspiration is the material
she works with. Felt, a completely natural
and environmentally friendly material, holds
significant importance to her. In her works,
she combines ancient felting traditions
with modern technologies and scientific
discoveries. She interprets felt as a living
stream flowing through time, from prehistoric
eras to the present. She handcrafts felt,
utilizing its limitless properties—ranging from
sculptures to transparent textile panels. She
is a participant in the International Biennial of
Paper & Textile Art in Belgium.
LUZ ANGELA CRUZ
Nationality: Colombian
Instagram: @luzacruzdstudio
Luz Ángela Cruz, Colombian Architect, was
born in the city of Bogotá in 1970. After
obtaining her professional degree, she
developed a deep interest in art, exploring
various painting and drawing techniques. In
his early stages in art, he dedicated himself
mainly to oil painting, creating works in
which he combined oil with fragments of
rusty metal. As time went by, he ventured
into other techniques, experimenting with
various materials and elements, including,
due to their versatility, Yupo Paper and
Alcohol Inks. Through experimentation and
practice, he designed his own technique,
which uses different layers of preformed
and thermoprofiled material + alcohol ink,
creating multidimensional effects, curves,
backgrounds, and voids. His work recreates
abstract themes. His works have been
exhibited in art galleries in Colombia and
Tokyo, and some have been published in art
catalogs in the USA.
111

MANUEL HERNÁNDEZ RUIZ
Nationality: Colombian
Instagram: @i_worship_the_worms
Website: manuelhernandezruiz.com
Represented by: SGR Galería (Bogotá,
Colombia)
Manuel Hernández Ruiz is a Colombian
visual artist whose work ranges from
painting, drawing, poetry, sound, sculpture,
and installations to books, publications,
prints, and graphic art in general. His work
focuses on questions of identity, arcane and
contemporary symbolism, Latin Americanity
in the midst of globalization, storytelling,
and existential absurdity. He is a graduate
of the School of Fine Arts of the Pontificia
Universidad Javeriana in Bogotá, Colombia.
In 2023 and 2024, he created the official
image for the massive Latin American music
event, Festival Cordillera. He has shown his
work in different fairs and exhibitions in Spain,
Greece, Colombia, South Africa, France,
the United States, among others. Since
2019, Manuel has lived in Athens, Greece.
He has recently shown his work in two solo
exhibitions in Bogotá, at SGR Gallery, titled
Conversations with the Monster, and “The
Beast” in Athens at O.Art.Ath. His latest book,
Earthworm, was published by PalmPress
(Col), in late 2024.
MELODY HESARAKY
Nationality: American
Instagram: @melodyhesaraky
Website: melodyhesaraky.com
Represented by: West Chelsea Contemporary
- New York; Decollage Art Space - Istanbul;
RAMA - Portugal
“During the process of creation, I became the
creator.”
Melody translates her notion of beauty to
visual arts, textile design, and wearables.
In a world obsessed with speed, her artistic
language came to life organically, day by day,
with patience, practice, and love towards
humanity. She has become recognized as an
artist and designer who is building a bridge
between the worlds of art, fashion, and
music! Melody strives to create magic and
atmosphere through her visual storytelling.
Her artistic language doesn’t belong to a
specific group of people. As a creator who
has lived and studied around the world, her
work is a bridge between gaps, and her vision
smooths out the sharp lines, borders, and
boxes. To be able to capture the amount of
detail she paints, to tap into the untouched,
and translate it to a visual vocabulary, and to
let the inspiration flow into her pen, camera,
or her body, she had to learn patience. She
had to draw and create for hours, days,
weeks, and months seamlessly. Like music,
Melody’s work is created from the depth of
her inner self, and the purest way to express
this is by letting the rhythm lead what she
draws. Melody’s art communicates the magic
of movement in stillness. You can perhaps
dream without words and fly through time and
space without moving by looking at her art. In
a world obsessed with speed, her work invites
you to stay still! Take a breath – Stay still –
Now you SEE.
NAT
Nationality: Chilean
Instagram: @nat.nataliasanchez
By profession, she is an advertiser; by
vocation, a textile artist since 2016. Nat
was born as a form of self-healing from an
autoimmune disease (rheumatoid arthritis),
and also from an endless search to create
something creatively innovative, different, and
compatible with this new Natalia; a handmade
work, stress-free, allowing her to manage her
time and go at her own pace. Two worlds that
have passionate her since childhood merge:
photography and the textile world, leading to
an intricate connection between paper and a
couple of threads, which, with her two hands,
seek a harmonious visual balance between
the image and the embroidery, giving rise to
the technique of photo-embroidery. She has
exhibited her work at the major Chilean art
fair ART STGO for 6 years independently,
at the Gabriela Mistral Cultural Center, and
at ART WEEK for 3 years at the Estación
Mapocho Cultural Center. She has also
participated in collective exhibitions at the
Liquen Cultural Center in Villarrica, the
Catholic University of Villarrica, and the Lo
Barnechea Cultural Center in Santiago.
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NATSUKO HATTORI
Nationality: Japanese
Instagram: @natsuko.hattori
WEBSITE: natsukohattori.net
Exhibited at the Metropolitan Museum of Art
and the Wall Street Journal building in NYC,
Natsuko Hattori is a celebrated artist known
for her innovative use of fabric in sculpture.
With over 90 exhibitions across the United
States, Europe, Japan, China, and Brazil,
her work resonates globally for its warmth,
humanity, and transformative themes.
Hattori’s art focuses on fabric as a medium,
creating cotton-filled forms that represent
the human spirit. Each piece embodies a
journey of transformation, wrapping pain
and despair into love, comfort, and hope.
This approach makes her work both deeply
personal and universally relatable. She has
collaborated twice with flower artist Masako
Jibo at The Metropolitan Museum of Art,
blending floral design with her sculptures
for immersive exhibits. Her solo exhibitions
include prestigious venues like the 92nd
Street Y, First Street Gallery, and Waterfall
Gallery, showcasing her dynamic range. In
2014, she launched the performance series
“Dancer in MocoMoco,” integrating sculpture
with dance, music, and video to create spatial
art. She has also designed costumes for
Broadway performers, demonstrating her
versatility. In 2019, her work was exhibited at
the Japanese Consulate General’s “Reiwa”
bookkeeping hall. In 2020, she was invited as
a contracted artist to the Swatch Art Peace
Hotel in Shanghai. After returning to Japan,
she established her practice domestically
while maintaining international collaborations.
Hattori’s creations celebrate the resilience of
the human spirit, bridging cultural divides and
inspiring connection and hope.
NICOLE HAVEKOST
Nationality: American
Instagram: @nicole_havekost
Website: nikimade.com
Nicole Havekost is an artist living and working
in Rochester, Minnesota. Her work is varied
in media and technique but is linked by her
interest in material and process. Nicole is a
2025 Minnesota State Arts Board Creative
Individuals Grant recipient and a three-time
Minnesota State Arts Board Artist Initiative
Grant recipient. Nicole is represented by
Dreamsong in Minneapolis, Minnesota, which
exhibited her work in a dual presentation at
Frieze Los Angeles in 2023. She recently
closed her first solo exhibition Penumbra with
the gallery, which was reviewed in Sculpture
magazine. Nicole’s 2021 solo exhibition
Chthonic at the Minneapolis Institute of Art
was followed by the two-person Accumulation
+ Revelation exhibition at the South Bend Museum
of Art last year. She is currently working
toward a 2025 solo exhibition of large-scale
sculpture and drawings at the College of St.
Benedict in St. Joseph, Minnesota. She is
a national member of the A.I.R. Gallery in
Brooklyn, New York. Nicole earned her BFA
at the Rhode Island School of Design and her
MFA from the University of New Mexico.
OLEG KOSTYUCHENKO
Nationality: Belarusian
Instagram: @olegkost12
WEBSITE: oleg12.com/projects
Oleg Kostyuchenko. Artist. Curator. Born
on April 12, 1984, in Republic of Belarus,
Minsk. Lives and works in New York. 2009
– graduated from Belarusian State Academy
of Arts, Department of Monumental and
Decorative Art. Active member of republican
and international exhibitions in Belarus,
Germany, Sweden, Italy, Armenia. Member
of the Belarusian Union of Artists. Related
Experience: 2010–2011 Restoration work:
The castle complex “Mir” of the 16th - 17th
centuries. Historical and cultural value of national
importance and world cultural heritage
of UNESCO in the Republic of Belarus. The
Palace and Park Complex of the Radziwills
in Nesvizh in the 16th century. Historical and
cultural value of national importance and
world cultural heritage of UNESCO in the
Republic of Belarus. Resident Programs and
Scholarships: 2017 – Montenegro International
School of Art and Design “Golden Bee
Academy”. Personal Exhibitions: 2019 – Personal
exhibition “Approaching Zero”, Berlin,
Germany. 2017 – Personal exhibition “ART”,
Minsk, DK Gallery. 2016 – Personal exhibition
“Sharp Ellipsis. Strategy of Understatement”,
Minsk, A&V Art Gallery. 2012 – Personal
art exhibition “Inter Face”, Minsk. Group
Exhibitions: 2019 – Armenia Art Fair. Personal
curatorial project “Talent for Export”, Yerevan,
Armenia. 2018 – Exhibition of the association
Alfa Arte, Alberobello, Italy. 2018 – Armenia
Art Fair 2018, Yerevan, Armenia. 2018 –
Exhibition “ArtMinsk”, Minsk. 2018 – Eco-Art
Project “Sustainable Development Goals”,
Minsk. 2016 – Exhibition “Autumn Salon”
with Belgazprombank, Palace of Arts, Minsk.
2015 – Research exhibition project “Dialogue
of Epochs. Interpretations”, Gomel. 2015 –
Art Panorama, Historical and Archaeological
Museum, Grodno. 2015 – “Labyrinth 2” Republican
exhibition of the painting section of
the Belarusian Union of Artists, Minsk. 2015 –
Exhibition “Autumn Salon” with Belgazprombank,
Minsk.
113

OLGA RUDENIA
Nationality: Belarusian
Instagram: @volha_r_art
Olga Rudenia is a Belarusian contemporary
artist and graphic designer whose
multifaceted career spans several countries
and artistic disciplines. Graduating with
honors from the Academy of Art in Minsk
with a degree in Fine Arts and Design,
Rudenia also completed her studies at the
A.K. Glebov Minsk College of Art. Her work
has been showcased in a variety of venues
across Europe and the United States,
including exhibitions in Minsk, Vilnius, Lviv,
St. Petersburg, Stamford, and New Orleans.
Rudenia’s creative journey has been further
enriched by her participation in prominent
art residencies, such as the International
Summer Art Program in Krzyżowa, Poland,
and the International Symposium of Ceramics
in Sumy, Ukraine. Her art has garnered
attention in various publications, including
the Hartford Courant, Artania Almanac, and
34mag. A turning point in her career came
when she fled Belarus due to the oppressive
political climate and sought asylum in the
United States. In Stamford, CT, she worked
extensively with the Fernando Luis Alvárez
Gallery, contributing to exhibitions and serving
as a studio assistant. Currently, Rudenia is
expanding her horizons at Tulane University’s
Newcomb Art Department, participating in
both coursework and group exhibitions in
New Orleans. Her diverse practice employs
oil paint, watercolors, acrylics, and other
media to explore and communicate a rich
tapestry of ideas, thoughts, and emotions.
OLIVIA BABEL
Nationality: French
Instagram: @oliviababel
Website: oliviababel.com
After studying at the prestigious Ecole Nationale
Supérieure des Beaux-arts of Lyon,
France, Olivia Babel made a specialization
in fiber art at the Ecole Supérieure des
Beaux-arts of Angers, France. Specialized in
fiber art, she gradually acquired an interest
in cartography and the concept of territory
through the years. Olivia Babel represents
territories in all their forms in order to question
our relationship with our environment. She
wants to represent geographic area differently
from what people are accustomed to.
Her vision of the world is fed by her origins,
cultures and travels. To create her artworks,
Olivia Babel uses traditional French savoirfaire.
All her pieces are handwoven in Lyon,
France. She regularly exhibits her artworks in
art galleries internationally. In 2018, she participated
to the Internatinal Biennial Contextile
in Guimarães, Portugal and participated to
the Biennial Objet Textile i Roubaix, France.
In 2019, she participated to a group show
at the gallery Atelier 28, in Lyon, France. In
2022, she presented her artworks at her solo
show in Abu Dhabi, UAE, she participated to
the international spring art pop up, in Malmö,
Sweden and participated to the group show
in Habtoor palace, Dubai, UAE. In 2023,
she presented a solo show in Dubai and
participated to a group show in South Korea.
She also works to commissions for special
projects. In 2024, she participated to a group
show at the CICA museum in South Korea
and started a collaboration with the Galerie
Glustin in Paris, France.
RENATA MEIRELLES
Nationality: Brazilian
Instagram: @renatameirelles
Website: renatameirellesatelie.com.br
Renata Meireles, born in 1964 in São Paulo,
holds a bachelor’s degree in visual arts from
FAAP. Her work integrates traditional craft
practices with industrial techniques, such as
heat bonding, 3D printing, and laser cutting.
She carries out research and experimentation
in the textile field, creating three-dimensional
“aerial threads”, sculptures, and installations
that reveal a fine line between lightness and
precision. She developed a construction system
that uses both positive and negative
forms as materials for different works, leaving
no fabric waste. Her art has been exhibited in
biennials both in Brazil and internationally.
Balangandãs is part of the permanent
collection of the Museu de Design (MUDE)
in Lisbon, and Fios REN is included in the
permanent collection of Museu do Objeto
Brasileiro. Renata collaborated with Brazilian
artist Regina Silveira on the Derrapagem
(Skid Marks) project. She is a member of
the Sudakas collective and Grupo Broca,
through which she organizes exhibitions and
seminars. She has learned textile skills from
master craftsmen such as João da Fibra,
Manuel Ciel, among others. She has lectured
at institutions including Universidade Estadual
de São Paulo (UNESP), Japan House
São Paulo (JHSP), Brazil; Contextile Talks,
Sociedade Nacional de Belas Artes (SNBA),
Portugal; Museo del Traje, Spain; and New
York Textile Month (NYTM), USA. She participated
in the jury committee for the Museu da
Casa Brasileira (MCB) Design Award in the
textile category and co-curated the exhibition
TraMares – Um Recorte do Têxtil Brasileiro,
alongside Eva Soban and Juan Ojea.
114

ROXANA CASALE
Nationality: Argentina
Instagram: @roxana.casale
Website: roxanacasale.com
Roxana Casale was born in Argentina. She
studied at the National School of Fine Arts
in the city of Buenos Aires, training in the
areas of engraving and painting. She creates
jewelry/objects, engravings, paintings, and
art books. She can use languages such as
textiles, photography, and any other that
helps enrich the poetics she is working on, in
order to generate a body of work as broad as
possible, that completes her creative experience.
Establishing these interdisciplinary links
allows her to concentrate on reflecting on the
experience of making, seeking to generate a
stronger and more emotional narrative and
visual interaction between the works and who
observes them or carries her pieces. Her
objects/jewelry are created with textiles and
Japanese papers of various qualities, which,
by subjecting them to different transformations
and relating them to the human body,
seek to open up to questions related to materiality,
portability, and functionality, generating
questions such as: Objects for the body or
bodies for objects? Thus proposing to take
the body as an exhibition space to break with
the gallery wall that could contain them. The
art books and photography also give her the
possibility of contextualizing and deepening
the metaphor she is interested in communicating.
She is interested in narratives that
focus on humanitarian, environmental, and
social events. These inspire her due to their
complexity, conflict, connection, and poetry.
Since 2012, she has actively participated in
salons and group exhibitions held in various
spaces and countries, as well as in physical
and digital publications.
SARAH FUENTES
& CAMILA SALAMANCA
Nationality: Colombian
Instagram: @sarahfuentes.l
@camisalamanca98/
The creative vision behind “C.R.E.A: The
Artist’s Journey” emerges from the collaboration
between Camila Salamanca and Sarah
Fuentes, two artists dedicated to exploring the
intersection of movement and technology in
live performance. Camila Salamanca is a seasoned
performer with over 16 years of experience
in the artistic field. With a background
in choreography, stage production, and
movement research, she specializes in crafting
performances where the body becomes
a dynamic tool for artistic expression. Her
expertise spans various dance forms, blending
tradition with contemporary experimentation
to create evocative stage narratives.
Sarah Fuentes is a visual artist specializing
in real-time audiovisual integration within live
performances. Her work delves into the fusion
of digital media, interactivity, and stagecraft,
redefining the boundaries between performer
and visual landscape. By combining
movement- responsive visuals with immersive
storytelling, she transforms performances into
multi-sensory experiences. Together, Camila
and Sarah challenge conventional artistic formats,
merging the physical and digital realms
to create a thought- provoking space where
technology and human expression seamlessly
coexist. Through “C.R.E.A.”, they reimagine
the creative process in motion, challenging
conventional stage practices and redefining
the relationship between performer, audience,
and digital media.
SUSANA OLAIO
Nationality: Portuguese
Instagram: @susana_olaio_studio
Susana Olaio, born in Porto, is a multidisciplinary
artist, with academic training that
includes a degree and a master’s degree in
Fine Arts, with a specialization in Painting,
from the Faculty of Fine Arts of the University
of Porto. In 2023, Susana was awarded
the first prize in the “Artistic Challenge of
250 years” at Santa Casa da Misericórdia
de Seia, standing out for her creativity and
innovation. Susana exhibits both individually
and collectively, with notable appearances in
prestigious venues such as: Tree of Virtues
Award, Northern Regional Section of the
Order of Doctors, Júlio Resende Foundation,
Olívia Reis Gallery, Museum of the Faculty
of Fine Arts, Soares do Reis Museum,
Santa Maria da Feira Plastic Arts Cycle, and
XI Biennale of Small Format Painting from
Alhos Vedros. Furthermore, she participated
in an Artistic Residency in Covilhã, entitled
“Industrial/Encounters with the Factory City”.
Her contribution to public art is marked by the
work donated to Escola Secundária Inês de
Castro, in Vila Nova de Gaia, highlighting her
commitment to accessibility and artistic education.
She has an active presence in academia,
participating in congresses, seminars,
and publishing scientific articles, enriching the
dialogue on contemporary art.
115

UCA DEA
Nationality: Romanian
Instagram: @uca.dea
Website: tiktok.com/@uca.dea
Uca Dea was born on December 24th, 1986,
with an inherent artistic spirit that has guided
her throughout her life. While her professional
journey led her into the structured
world of software engineering, her creativity
has always found ways to bloom. Between
the ages of 5 and 15, Uca designed clothes
for herself and others, working with seamstresses
to bring them to life. She also began
creative writing in the form of short stories
and abstract painting with watercolors, setting
the foundation for her artistic sensibilities.
During her teenage years, Uca expanded her
artistic repertoire. From 15 to 20, she delved
into handmade jewelry design and photography,
mastering the delicate balance between
form and function. Her wearable art pieces
combined intricate craftsmanship with bold
aesthetics, while her conceptual photography
and post-editing revealed a deeper and
darker aesthetic. Since the age of 20, Uca
has balanced her engineering education
and career, while continuing to explore her
creative pursuits as a photographer, baker,
writer, dancer, and ultimately emerging as
a mixed-media artist, primarily focusing on
abstract art using cotton thread on wood.
VERÓNICA GARRIDO CORDOVA
Nationality: Chilean
Instagram: @veronicagarridocordova
Verónica is a self-taught Chilean textile and
plant fiber artist. After dedicating herself for
many years to felting clothing, she found
herself, during the pandemic, without raw
materials to carry out the work. So, constant
observation led her to encounter natural elements,
opening up a magical world of infinite
resources, a dominant source of inspiration
and creativity in the reinvention of materials,
capturing the ephemeral nature of the
world, and attracting the viewer to a level of
relaxation and reflection. A natural collector,
curious and eager to record and preserve natural
elements. In her creation, natural cycles
are respected. Above all, when skeletonizing
leaves, she does so without the intervention
of chemicals. In her workshop in Santiago de
Chile, she creates countless natural symbioses
with shells, leaves, seeds, roots, garlic
stems, cochayuyos, volcanic stones, etc. In
her hands, she creates life out of the tiny, the
disposable, what goes unnoticed in a dance
giving thanks for the gratuities of life and in
a stage that she has called “The Charm of
Deterioration.” Her work has been quickly
recognized in her country and abroad, being
selected in biennials and different citations.
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BIBLIOGRAPHY

Appiah, Kwame Anthony. Cosmopolitanism: Ethics in a World of Strangers. New York:
W.W. Norton & Company, 2006.
Bhabha, Homi K. The Location of Culture. London: Routledge, 1994.
Levinas, Emmanuel. Totality and Infinity: An Essay on Exteriority. Trans. Alphonso Lingis.
Pittsburgh: Duquesne University Press, 2000.
Nussbaum, Martha. The Cosmopolitan Tradition: A Noble but Flawed Ideal. Cambridge:
Harvard University Press, 2019.
Plato. The Republic. Trans. José J. M. de Almeida. São Paulo: Ed. Nova Cultural, 2005.
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MUSEU TÊXTIL

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