Mirror

The artwork consists of a textile composition mounted on a rigid, vertically oriented, uniformly cream-colored rectangular support. The piece is organized around a symmetrical central axis, which lends it balance and visual stability. The main element is composed of various types of fabric and fibers in white and beige tones. In the central section, a denser weave is visible, with taut threads and a braided or woven pattern that creates small, regular horizontal lines. This section functions as the structural core of the piece. From the center, layers of crinkled fabric unfold, extending to the sides with irregular edges. These layers exhibit variations in thickness and soft folds that create volume and tactile contrast with the flat background support. At the top, some folds create undulating forms that rise slightly, while at the bottom, a group of extended fibers forms an open fan or fringe, emphasizing the vertical axis and acting as a visual focal point. The materials used share a homogeneous color palette of neutral tones, allowing the relief and textures to stand out. The lighting casts subtle shadows that accentuate the contours and the physical presence of the volumes on the flat surface. The artwork’s surroundings are minimalist, with no additional visible elements that might interfere with its formal interpretation. This work presents itself as a surface that does not reflect the viewer’s image, but rather what the material silently holds. It does not reflect faces, but the trace of gestures: the taut fabric, the folded fiber, the cloth that preserves the memory of every touch. At the center, a firm axis supports the composition, like a spine that organizes all possible directions. From it, the textile layers unfold moderately, revealing their own rhythm: the expansion of softness within a precise boundary. Symmetry acts as a containment, a framework that maintains the balance between order and excess. The white and beige tones intensify the tactile experience of the relief. The work seems to emerge from the support as if the surface were incapable of fully containing it. The folds open outward in a gesture of breathing, while the lower fibers unfold as if seeking to touch the ground, to anchor the asserting body. This Mirror observes more than it returns the gaze. It is a textile threshold: a space where matter transforms into form, where the intimate becomes visible without being named, and where the reflection no longer depends on the image but on the experience. Before it, we see not who we are, but how we stand.