Work

Thirteen pieces. One way of thinking.

We don't organize the work by sales category. We present it in the order it was conceived: a sequential gallery, not a showcase.

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The dark background doesn't hide the work: it forces every thread to justify its place.

A piece conceived for the pedestal, not the wall: embroidery as object, not only as image.

III

The collector's view: the complete work, exhibited in its gallery context.

The artist's view: every metallic thread follows a direction decided before the first stitch, not after.

An entire landscape reduced to the scale of a hoop, without losing its sense of depth.

Up close, the forest stops being a landscape and becomes structure: layers of thread stacked one over another.

VII

Without color contrast, the piece depends entirely on texture and relief to hold together.

VIII

The alphabet as raw material: every letter, a decision of structure before style.

Up close, an embroidered letter reveals how many separate decisions it takes for a stroke to look simple.

A piece that has engaged with museum spaces, including the Museo del Oro: proof that embroidery can sustain an institutional conversation.

The studio's smallest scale: absolute precision, with no room to correct along the way.

XII

A piece meant to be worn, made with the same rigor as a large-format installation.

XIII

It closes the sequence the way it began: a small form, treated with the same seriousness as the largest pieces.

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