设计师简介
I have two degrees, one in Linguistic and the other in Textile Design (Argentina)
I am a Professor of Textile Design and researcher at FADU-UBA and at UNLa
Other textiles studies:
Workshops on Jacquard and textiles techniques at Fondazione Lisio (Italy), Center for Contemporary Textiles (Canada) and Kawashima School (Japan)
Jewellry studies:
-Fabiana Gadano’s jewelry workshop (BsAs)
-Jewellry Education Complex (Bs As)
Other workshops held:
“Between the plastic and the visual” (Jorge Manilla),
“It is a jewelry thing” (Lin Cheung), Resina (Paulina Jaschan),
“Hands and daily rituals” (Sayumi Noguchi,
“Clothing and Code” (Erin Lewis),
“The skin I inhabit” (Celio Braga), “Air” (Ruudt Peters)
Textile Exhibitions (several editions):
Cultural Center of Cooperation, Tapestry Biennial, CAAT Minitextile Exhibition, Free Composition, José Hernández Museum Textile Art Exhibition, Languages, AMATERAS Paper Art Exhibition, National Embroidery Salon, Paper in textile art, Spiral Textile, Fiber Fusion, Textile Mail Art, Expo Art + 40, National Visual Arts Exhibition, International Tapestry Project, National Textile Exhibition, Fiberart International, Biennial of RE Art
Prizes: poetry prize at CAAT Jewellry Textile Exhibition, 1st prize painting exhibition with textile intervention, 1st prize National Symbol Exhibition, 1st Prize acquisition National Exhibition of Visual Arts 2012, Mention at Minitextiles Tokyo Gallery, 1st prize shared Designer’s Day Bs As Design, mention in Kalpakian contest of Carpet Design.
Jewelry exhibitions (group)
“Wearin Change” NOD, I and II Latin American Biennial of Contemporary Jewelry, We: self-portrait of 55 contemporary jewels, Travesías, National Foundation of the Arts Handicrafts Competition 2017, CAAT Textile Jewelry Exhibition, Women, SAMPLE: subset of cases of a statistical population Argentina, Tema Pendiente (recicled jewellry), Desire.
设计说明
The evolution of jewellery may have a certain trend, but no only one answer. What is your answer? Where is contemporary art jewellers’ voice?
My answer and statement:
Art Jewellery is a way to resist. I resist despair making things with a meaning. Create a meaning is a poweful weapon, because having a meaning is having a hope.
You can carry that meaning with you, in you, you can give it to other people, you can do it with other people.
In Contemporary Jewellery you can give value to humble and forgoten materials. That is important to me, because I live in a reality where a quarter of the population is under the poverty line and every resource is valuable.
I have woven small baskets with stripes of corn husk (“chala”, from quechua language).
I separated fibers from the leaves and I strip of the excess with the nails to obtain a very thin thread.
Corn is a founding crop in America. The chala appears as an element of Latin American resistance. It is an apparent waste, which invisible protects the earth and generates energy when it is thrown in the field.
In this sense, it is assimilated to mute populations for history: indigenous, women, poor.
Description of the pieces
1 – Basket to hold your courage
Pendant.
Materials: Corn husk, nylon and hemp thread and remnant of guitar wood.
Size: 6 cm high, 5 cm wide and 3,5 cm deep.
Technique: woven in a tapestry loom; knitted string.
2 – Basket to hold your hope
Pendant.
Materials: Corn husk, nylon and hemp thread.
Size: 3,5 cm high, 7 cm wide and 2,5 cm deep.
Technique: woven in a tapestry loom; knitted string.
3 – Basket to hold your dream
Pendant.
Materials: Corn husk, nylon and hemp thread.
Size: 3,5 cm high, 4,5 cm wide and 4 cm deep.
Technique: woven in a tapestry loom; knitted string.
