Hilaza refers to coarse or twisted threads made from leftover fabric. For me, it is both material and metaphor — a way of understanding memory, inheritance, and what remains.

This series began without a clear intention, emerging from the subconscious and shaped by the colors, textiles, and visual language I grew up around. Guatemala is its point of origin — not as a place fully known, but as one remembered through fragments, patterns, and longing. Limited by time, space, and circumstance, I turned to what was physically around me: Guatemalan fabrics, paper, natural materials, and slow, hands-on processes.

The work brings together painting, cyanotype, collage, and handmade sculptural forms. Deep blues recur throughout the series, while textures and relief patterns draw from trajes típicos and their contemporary, commercial counterparts which usually have flowers and symbols. Materials are reused, soaked, layered, and reworked — allowing imperfection, repetition, and process to remain visible.

Like hilaza itself, these works are constructed from remnants. They hold together what is broken, inherited, and transformed, allowing new forms to emerge.

MORE PHOTOS COMING SOON