“Us weaving time” gathers the works by Ana Esteve Llorens (Valencia, 1975), Chingsum Jessye Luk (Hong Kong, 1982) and Pamen Pereira (Ferrol, 1963) which, through different and distant practices, allow us to approach the conformation of the story as a fabric, as that “text” which —from Ovid to Roland Barthes— rather than the result of the act of writing or what is written, is related to to the way of weaving the threads, the fibers, and plowing the land; a perpetual weave like the intertwined forms that emerge organically and mathematically in nature, the same way in which we are entangled with our memories, passing through the record of the days and nights that is life, which is also done when we untangle ourselves between oblivion and memory. Weft and warp, weaving concentrates our relationship and reflection on history in the act of weaving, in the knotting of the time personified in the mythical figure of Penelope from the Odyssey, her loom and her weaving and unweaving of what has been done - a myth set in our tradition during the Renaissance, modernized with the Romanticism of the Nineteenth Century, and critically rewritten (Margaret Atwood, Mary Beard) in recent decades.
Ana Esteve Llorens weaves the domestic memory of her family, straddling the Mediterranean, Mexico and Austin (Texas), reconstructing the designs and colors of the rags and cloths seen in her childhood memory. And she does so by hand, using a Mexican backstrap loom and assuming the irregularity of the result and the materials, of weaving the threads and unraveling time, as an action of remembrance and return to the past that fixes the process, her gestures. The design of these small pieces is framed following the contours of the textile, gracefully and organically, while as a counterpoint, two other pieces impose on the space a rational geometry of straight lines and a hard, although slightly irregular frame, which bring together references from Barnett Newman to Anni. Albers.
Chingsum Jessye Luk takes us through the daily movement through drawing and embroidery for which she uses her own hair as a material, as line of the drawing line and as a thread in the detailed cataloging and graphics of her fallen hair: date, number , dimension. She sews her own statistics by hand, following the plan established with scientific method but making the task more than a conceptual spinning. Those same strands appear as tangles that are also the skein of life, kilometers of time; or the memory fixed to the pillow of the nights slept in Paris during the enjoyment of a scholarship, under the first confinement, last spring. In addition, she finely weaves the ornate interior of the envelopes, between the patchwork and the houndstooth motif.
Pamen Pereira shows the power of the roots when sewing and twisting underground, emerging as a metonymy of natural order that represents the silhouette of Africa, a whole fabric that runs through the landscape and clings to the ground (to the territory) to be, above , the world and, below, life itself. These wild mangrove roots were braided in the shape of a continental map in the same way as other plant fibers, finer, overlapping as a weft and time mark, as if carefully embroidered, in the shape of Africa and South America on the pentagrams mute of a patterned paper, like a warp. A map of Africa which also blooms delicately from the inside of a swallow's nest, projecting out its bright reds like a flower (of fire) of sinuous threads.
And so, we are weaving time.
Ricardo Forriols. Curator
Universitat Politècnica de València
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