Like, I can sew around anyone and be in conversation while I'm working. I recently delved into the collaboration of costume work and choreography for this recital with Lina, which was a fascinating experience. I've been thinking a lot about applying to residencies recently. It’s super important and exciting to me… understanding the map I think that’s the thing that influences me, that’s what helps me feel at home in the center of one of the world’s biggest cities.Ī : Are you thinking about stuff artistically right now that you haven't described yet or that you feel are bizarre thoughts, concerns or unrelated things that are coming up for you?Ĭ : Shoot, I don't know. I love to know the street names and geography of a city. I find the lunch spots that I like and I frequent, I know the people, we say hello to each other, I really get to know my neighborhoods. You know, I’m someone who always goes to the same places. I feel like you asked me that before… I feel like I’m… I’m just me here, I suppose. Although you might be maybe the most rebellious? Rebellious superficially, I don't know.Ĭ :You mean, how has the culture or the city influenced me? I don’t know about that question. And you're not the only artist in your family.

But she used to work more with textiles, and just has boxes of things.Ī : This family lineage with art in textiles always struck me as kind of unique in your case that you, your mom, and your grandmother have a couple of things in common. And then collecting from friends or my grandmother who has given me so much material, so much material. I go a lot to the pacas now and I'm always looking for silk and wool, which I can find in the five-peso piles. So I've become more picky in the past years as the practice has evolved.Ĭ : I'm always looking for texture. Literally everybody has clothes in their closet that they don't want. It started with like trying to make this “jean monster” Halloween costume, and then I turned it into like, one of my first signs, which then became this six year practice of dedicating myself to only using scraps and use materials and old clothes. And I literally just started cutting them up to make new things.

Can you talk more about fabric?Ĭ : I mean, my practice started, as it exists now, about six years ago, because I was such a high consumer. There's antique fabric there's heritage that’s being re-appropriated through these pieces that then come to light as tapestries and rugs, in clothes and books. You source fabric locally here in Mexico City but you also receive fabric from your family. And that's why I'm interested in more, more fabric.Ī : I like hearing about your relationship with fabric because it's multifaceted. Putting on the gloves is an action so that you feel like you're part of the pages, right? You're covered in fabric. Addison : Where does voice come in for you? You have poetry in your work does that installation extend into the performance space, into the spoken space?Ĭhelsea : The installation of the book and how I plan to install my next book is performative– exactly how you just explained it: the time that you have to spend with the piece.

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