Mímesis

Its outline is broad, expansive, and symmetrical at the top, with a slight opening towards the sides reminiscent of a winged or branching structure. A palette of natural tones predominates: beiges, ecru, and earthy hues. The surface is composed of a combination of different textile materials and techniques: Regions of long, loose fibers that hang downwards and to the sides, creating volume and a texture similar to fur or tufts of plant fiber. Areas of woven or braided fabric that form undulating lines, outlining the piece and visually structuring it. Central sections with a more compact weave, possibly mesh or knit, that function as support and the core of the composition. The edge of the work expands in different directions, without rigid angles or straight lines, reinforcing the organic and fluid nature of the whole. The lower portion culminates in a cascade of long fringes that add verticality and visually complete the form. Soft frontal lighting accentuates the textures of the material, especially in areas with dense fibers, where shadow helps define the relief. The exhibition environment is neutral, allowing the variations in texture and materiality to be the main focus of the work. In Mimesis, the artist evokes the memory of bodies that hide in order to survive. This textile work unfolds on the wall as a presence that attempts to blend into its surroundings and, at the same time, stand out within them. It is an expanded skin, a contour that unfolds as if still in the process of being defined. The piece combines long fibers, compact weaves, and lines that delimit and connect diverse areas. There is a balance between structure and excess: what is ordered in the center becomes wild at the edges. Thus, the work oscillates between protection and exposure, between camouflage and unfolding. Mimesis evokes that which it imitates in order to belong, but also that which it transforms in order to exist in a singular way. The textures covering its surface—smooth, dense, rough—compose a tactile language that invites us to imagine an organism that adapts, observes, and breathes. Extending as if with wings, the piece seems to attempt a gesture of escape: to detach itself from the wall, to break the stillness. Its natural materiality connects it to the living, while its hybrid form brings it closer to the imaginary. The work thus becomes a frontier where identity is negotiated: how much must we resemble each other to be accepted? How much can we differentiate ourselves to continue existing? Here, mimicry is not disappearance, it is strategy. A way of continuing to exist, without relinquishing the desire to transform.