Childhood naivete and nostalgia have always grounded Kayla Mahaffey’s imaginative paintings, but today, the Chicago-based artist considers what happens in the next stage of adolescence. “My previous work centered around more innocent times and how those outside influences (good or bad) interacted with us and how sometimes we remained in a state of bliss and oblivion,” she tells Colossal. “As I get older and as the children in my work grow, I want to move into a direction of awareness and ask the question, ‘When was the turning point in our lives when we started to notice the bad things, and how did this affect us?’”

This act of self-discovery and growing awareness of the broader world are shaping Mahaffey’s new works. Continuing her use of vivid color and energetic movement, the artist has toned down the cartoon details that once created daydream-like commotion for her young subjects, and she’s instead gravitating toward weightier and more ominous themes, including the tension between life and death. Dead birds and sinister snakes appear, while one figure grasps sharp clippers and another cries large, heavy tears.

“And Away We Go,” acrylic and aerosol on linen

Mahaffey has a vast archive of sketches to be translated into acrylic and aerosol, many of which reflect the nuanced stories of her native Chicago. “My work reflects how the city directly affects our youth and how they in return react when they are cared for and also when they are not,” she says, sharing that the paintings “are just the tales and experiences, filtered through my mind and put on paper.”

She works quickly, and ideas emerge freely. Once settled on a composition, she works tirelessly until the painting is complete. “I try to slow down my process at times, but it only stunts my thought process and clouds me mentally while painting, so I just do what works for me. My mind works a bit more spontaneously, and I would like to think my pieces flourish because of that,” the artist shares.

Mahaffey will release a limited-edition sculpture with Thinkspace this week, which you can find more about on Instagram.

“Glare,” acrylic and aerosol on stacked panels, 48 x 48 x 4 inches

“Chicago’s Hope”

“Retribution,” acrylic and aerosol on stacked panels, 32 x 32 x 3 inches

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Continuing a millennia-old Japenese tradition of kanzashi, Tokyo-based artist Sakae (previously) constructs intricately detailed hairpins from wire and resin. In their earliest and simplest form, kanzashi were made of a simple stick or rod meant to protect the wearer from evil spirits. Over time, they evolved to include combs and a wide range of materials, becoming widely popular during the Edo period when hairstyles became more elaborate.

Sakae’s contemporary iterations connect to her rich cultural heritage, adorning customary hairstyles during special occasions like ceremonies or weddings. She creates the luminous surfaces of insect wings, flower petals, and dew drops by using dip resin, a type of liquid material that can be applied between strands of wire and solidified with heat.

Sakae periodically sells her pieces via auction, which you can find updates about on her website and Facebook.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Remarkably Detailed Resin-and-Wire Hairpins by Sakae Mimic Elaborate Wings and Petals appeared first on Colossal.

DESIGNED FOR SPORTY VEHICLES, THE NEW P ZERO AS PLUS 3 OFFERS HIGH LEVELS OF COMFORT AND OUTSTANDING BRAKING FEATURES IN DIVERSE WEATHER CONDITIONS.

WITH A 50,000-MILE LIMITED TREADWEAR WARRANTY, THIS NEW TIRE IS BUILT TO PROVIDE LONG LASTING PERFORMANCE.

LAS VEGAS, June 7, 2023 /PRNewswire/ — Pirelli today announced the introduction of the P Zero AS Plus 3, a new Ultra-High performance All-Season tire designed specifically for premium cars.

This tire combines the sporty performance of the Pirelli iconic P Zero range with the comfort and durability of the Pirelli “Plus” line which is specifically developed to meet the needs of North American drivers – in particular the demand for all season tires capable of covering many miles with great handling.

The new P Zero AS Plus 3 enriches the Pirelli lineup, tailor made for the American market, and adds to the Scorpion AS Plus 3, Pirelli’s all-season tire for crossovers, sport utility vehicles, and pick-up trucks, and the P7 AS Plus 3, for sedans and coupes.

With a completely new tread pattern, compound and construction, the new P Zero AS Plus 3 is equipped with a 50,000-mile limited tread wear warranty that places it among the best in class in its category.

With the use of 3D sipe technology, combined with innovative materials such as functionalized polymers in the compounds, the new Pirelli tire is designed to deliver even wear, improved snow traction and braking, excellent performance on wet, and a comfortable ride with reduced cabin noise. This new product is the top performing all-season tire in the Pirelli range and has been developed through extensive use of virtual modeling and innovation in the field of materials.

The P Zero AS Plus 3 also offers a wide range of fitments for owners of high-end cars that want the best performance in all weather conditions and can rely on the rich Pirelli Motorsport DNA and its long relationship with the most prestigious car manufacturers in the world.

The new tire is available in 31 sizes, from 17 to 20 inches. Key fitments include the Ford Mustang, Genesis G80, BMW 3 series, and the Mercedes Benz C-Class.

“The P Zero AS Plus 3 is a testament to Pirelli’s focus on the North American Region and its commitment to develop products that answer to the specific needs of this market,” said Claudio Zanardo, President and CEO of Pirelli North America. “We’re confident that this tire will exceed our customers’ expectations, providing a great driving experience and delivering exceptional performance in all conditions.”

TOP ALL SEASON CAPABILITIES, OUTSTANDING COMFORT AND MORE MILEAGE
The new P Zero AS Plus 3 is designed to deliver long-lasting performance in all weather conditions, thanks to the usage of horizontal 3D siping: the 3D sipe interlocking system is designed to increase tread pattern stiffness, resulting in superb braking on wet and snow. In addition, the new Pirelli tire features higher siping density to improve snow performance grip.

The four wide longitudinal grooves are designed for improved water displacement from the tire footprint, boosting wet performance and reducing the risk of hydroplaning.

The implementation of functionalized polymers in the tread compound offers significant advantages, resulting in enhanced rolling efficiency and reduced rolling resistance by 10%. Setting new benchmarks in performance, these remarkable benefits extend to improved fuel consumption and reduced emissions. Utilizing virtual design, the tire’s performance has been simulated throughout its usage achieving a 20% increase in tread efficiency at end-of-life.

Furthermore, engineering of this new tire has focused on optimizing the pitch sequence, effectively minimizing cabin noise to ensure comfortable driving experience. Through the utilization of predictive calculation algorithms, the asymmetrical design, featuring a central helix, was fine-tuned in a specialized semi-anechoic chamber using prototypes. This allowed the design team to identify the perfect sequence with the shoulder crosspieces, resulting in 1dbB reduction in in-cabin noise. Such noise reduction positions the new Pirelli all-season tire at the forefront of its category, delivering unparalleled driving comfort.

In the development process of the new P Zero AS Plus 3, Pirelli engineers placed also great emphasis on mileage, augmenting the tire stiffness to enhance road contact – extending the mileage and improving the tire’s performance.

About Pirelli
Pirelli was founded in Milan in 1872 and today stands as a global brand known for its cutting-edge technology, high-end production excellence and passion for innovation that draws heavily on its Italian roots. With 18 production plants in 12 countries and a commercial presence in over 160, Pirelli has around 32,000 employees.

Pirelli Tire North America (PTNA) includes the Modular Integrated Robotized System (MIRS) facility and research and development center at its Rome, Georgia headquarters, a state-of-the-art manufacturing plant in Silao, Mexico, sales and marketing offices in New York City, Los Angeles, Detroit, Montreal and Mexico City, and a prestige flagship store in Los Angeles. The company manufactures, distributes and markets original equipment and replacement tires for export and domestic car/motorcycle applications. For more information regarding Pirelli, please visit www.pirelli.com

SOURCE Pirelli North America

CONTRIBUTED PHOTO
Artist Sasha Primo, pictured, poses in front of a mural he completed in Buenos Aires, the capital city in his home country of Argentina. He has been commissioned to paint four new neighborhood murals in Marshalltown, with work set to begin this month.

Art has a way of bringing people together. That’s why the Marshall County Arts and Culture Alliance has launched a community-building mural project aimed at honoring Marshalltown’s rich cultural diversity and resilience through a tornado, derecho and pandemic.

“After an international call for artists was issued, Sasha Primo of Argentina was selected as the finalist for his expertise in public art and community-based projects,” Amber Danielson, executive director of the Alliance, said. “Primo will paint four new murals in underserved neighborhoods, to tell the story of Marshalltown, capturing the unique experiences and dreams of its residents.”

People interested in providing feedback for what they’d like to see included in the artwork can complete this survey by June 14: www.artsandculturealliance.org/experiences

It consists of four questions, which seek to learn more about the survey takers’ background, personal stories related to the tornado and derecho and vision for Marshalltown. You do not need to answer all the questions in order to complete the survey. An optional fifth question at the end asks you to create a drawing, in no more than 10 minutes, using any object or symbol from your story, then emailing it to the Alliance at: director@artsandculturealliance.org.

Work is set to begin this month. Danielson said Primo did more than a dozen interviews in both the public and private sectors to get a better understanding of Marshalltown’s identity.

“The interviews highlighted the community’s cultural diversity, which will serve as a central theme throughout the project. The murals will depict the history of the community, the diversity of its people, the resilience and empathy displayed in the aftermath of the natural disasters and the hopes and dreams of its residents,” he said in a statement.

Primo, who has done murals around the world, is drawn to representing cultural histories and incorporating site-specific artworks to help tell a community’s unique story.

“I achieve this by identifying and incorporating popular symbols that have significance for the identity of the place,” he said.

While in town, he will work with local youth-focused organizations to offer art workshops.

The murals will be paid for with funds from several local and statewide grants.

“This is a project representative of the Arts and Culture Master Plan,” Danielson noted.

In addition to completing the survey by June 14, people can participate in designated paint days, which will be announced on the Marshall County Arts & Culture Alliance’s Facebook page.

“Our goal for this project is to engage individuals, youth and families in a community-building mural project to increase community connectedness and pride, while infusing beauty and vibrancy into our neighborhoods. Most importantly, we seek for the community to be the inspiration for the mural designs and be a part of the mural creation process,” mural committee member and local artist Kim Hanken said in a statement.

The Alliance, which formed in 2004, helps the community connect to art and culture through promoting, supporting and enriching concepts that are already in place and searching for new endeavors and partnerships.

“The Alliance is excited to collaborate with the community to create a lasting tribute to the strength and vitality of Marshalltown. We believe that community involvement is essential in creating public art, and invite the community to take pART in this groundbreaking project,” Danielson said.

In addition to engaging the community with these new murals, the Alliance is hosting a Festival Cultural day on October 15 from 1 p.m. to 5 p.m. in the 13th Street District – West End Park. Live music, activities for youth, food trucks, vendors and more will be offered. For inquiries about being a vendor, entertainment or food, reach out to Wendy Soltero at: 641-751-5876. For information about sponsorships, event logistics or advertising/marketing, connect with Danielson at: director@artsandculturealliance.org or 641-752-2787.

To view the Master Plan, go to: www.artsandculturealliance.org/master-plan. To view some of Primo’s artwork, visit www.sashaprimo.com.

The 2023-2024 theatrical season featuring a partnership between Rochester Institute of Technology’s School of Performing Arts and the Department of Performing Arts at the National Technical Institute for the Deaf will include a celebration of Deaf rap and hip hop, an adaptation of Hamlet, a multimedia dance production, and several immersive theatrical performances, among others. 

“This season builds on the strong relationship between RIT’s School of Performing Arts and Performing Arts at the National Technical Institute for the Deaf. Our campus and the Rochester community benefit from the longstanding tradition of engaging Deaf theater and dance at NTID,” said Erica Haskell, director of the School of Performing Arts. “The season is a collective display of our diversity, originality, innovation, as well as student, faculty, and staff creativity and excellence, which will be on display at several venues across the university, including in the Student Hall for Exploration and Development (SHED), opening this fall. We are beyond excited to bring the community these fantastic performances.”

This season’s productions are:

“Deaf Hip Hop and Rap Festival,” featuring Wawa, Sho’Roc, and more. Sept. 8-9, Sklarsky Glass Box Theater, Student Hall for Exploration and Development (SHED). This two-day celebration of Deaf hip hop and rap will feature performances by top recording artists, as well as dance, translation, and musicality workshops.

Thy Name is Woman, co-created by Jill Bradbury, Alexa Scott-Flaherty, and Andy Head. Nov. 9-12, Lyndon Baines Johnson Hall. Produced collaboratively by the School of Performing Arts and NTID Performing Arts, Thy Name is Woman is an immersive adaptation of Hamlet set in a modern context. This production explores the character of Shakespeare’s Ophelia and uses multi-sensory experiences and non-linear performance to investigate her past, psychology, motivations, and desires, all while inviting audiences to create their own understandings of her life and her decisions. Thy Name is Woman will offer performances in American Sign Language, spoken English, and Protactile.

AstroDance II: Across The Universe, created, directed and choreographed by Thomas Warfield. Dec. 1-3. Sklarsky Glass Box Theater, SHED. This multimedia, experiential dance production explores basic concepts of astrophysics such as gravitational waves and the interactions between objects in space through a series of vignettes performed in dance, ASL, and music. This interactive and interdisciplinary performance combines ballet, modern dance, tap, hip-hop dance, aerial arts, astrophysics, and the technologies of motion capture, projection mapping, and gaming interactives.

Ada and the Engine, written by Lauren Gunderson and directed by Kelley Holley. April 5-7, 2024, Sklarsky Glass Box Theater, SHED. As the British Industrial Revolution dawns, young Ada Byron Lovelace, daughter of Lord Byron, sees the boundless creative potential in the “analytic engines” of her friend and soul mate Charles Babbage, inventor of the first mechanical computer. Ada envisions a new world, one she might not live to see, where art and information converge. Jane Austen meets Steve Jobs in this poignant pre-tech romance heralding the computer age.

“Immersive Theatre Project,” created and directed by Ryan Underbakke. April 12-14, 2024, Sklarsky Glass Box Theater, SHED. The Immersive Theatre Project is a year-long creation culminating in a student-made production. Story enthusiasts and artists of all kinds, from actors to game designers to LARPers, will collaboratively develop a piece “in conversation with” the School of Performing Arts production of Ada and the Engine. Students will spend the fall semester devising storytelling concepts based on theatrical space, thematic structure, and performance. In the spring semester, these ideas will be transformed into a theatrical showing that connects back to Ada. Throughout the production, students will lead decision-making for marketing, rehearsals, design, and performances.

“Deaf Creators Play Festival,” April 19-21, 2024. Robert F. Panara Theatre, Lyndon Baines Johnson Hall. The fourth Deaf Creators Play Festival will feature four one-act plays by diverse Deaf, hard-of-hearing, and DeafBlind creators. Other festival activities will include panels and workshops. Interested play creators can submit plays for consideration on the NTID Department of Performing Arts webpage.

Titus Andronicus, written by William Shakespeare, and adapted by Howie Seago, Lezlie Cross, and Christine Albright-Tufts. August 2024, Robert F. Panara Theatre, LBJ Hall. In collaboration with Play On Shakespeare, this production will feature some of the top Deaf actors in the country and is adapted as part of Oregon Shakespeare Festival’s Play on! Initiative, which creates opportunities for artists who have historically been left out of Shakespeare performance in the United States. The adaptation explores themes of language, power, and community that will resonate with Deaf, hard-of-hearing, and hearing audiences.

Tickets for the productions (excluding Titus Andronicus – ticket details TBA) will be $5 for students, senior citizens, and children under age 12; $10 for RIT faculty/staff/alumni; and $12 for the public. Tickets can be purchased online, by phone at 585-475-4121, or on campus at RIT University Arenas, 200 Lomb Memorial Drive, Rochester N.Y. 14623. Tickets may also be purchased at the venue on performance days two hours before the show begins. 

Bayfield, Wis. (June 6, 2023) – The Wisconsin Department of Tourism released 2022 economic impact data, showing the tourism industry generated a record-breaking $23.7 billion in total economic impact. The highest-ever overnight visitation helped fuel the growth, with Bayfield County playing a pivotal role by contributing $89 million in total economic impact. 

The 2022 total economic impact surpassed the previous statewide record of $22.2 billion set in 2019. Locally, Bayfield County surpassed the 2019 record of $72 million with a 24% increase. 

The tourism industry in Bayfield County supported 706 part-time and full-time jobs across various sectors of the industry and generated $7.6 million in state and local tax revenue. Statewide, tourism generated $1.5 billion in state and local tax revenue. Without this revenue, each Wisconsin household would pay an additional $620 to maintain the current level of government services.

“The City of Bayfield and Town of Bayfield once again saw an increase in lodging and sales tax revenue in 2022. Tourism allows us to showcase our heritage and cultural sites, and promote the creation of new community initiatives,” said Carol Fahrenkrog, executive director of the Bayfield Chamber and Visitor Bureau. 

Bayfield also grew in 2022, with more than a dozen new businesses within the city. The Bayfield Chamber and Visitor Bureau launched a new art initiative in September of 2022 called Art Escape; a nine-day celebration of “all things art” across Bayfield County and Madeline Island. With the help of a $30,000 Joint Effort Marketing Grant, Art Escape generated an additional $700,000 economic impact county-wide. Art Escape will be held September 9-17, 2023.

Our partners and business community’s dedication and hard work are why Bayfield and Bayfield County continue to be sought-after destinations for visitors. 

Big Top Chautauqua also had a record-breaking 2022, generating $2.5 million in revenue, a 6% increase over 2021. Big Top also moved its offices to Bayfield and opened The Backstage as an additional year-round entertainment venue, generating a $3.7 million impact for the building project. 

Additionally, 2022 marked the 75th anniversary of Mt. Ashwabay Ski and Recreation Area. About 900 season passes were issued, and nearly 5,000 alpine and snowboard day passes, and rentals were sold. 

In 2022, the Apostle Islands Cruises sold 52,783 tickets, allowing people to experience the Apostle Islands National Lakeshore. 

Bayfield will keep growing its visitor experience in 2023 with the addition of the St. James Social. This boutique hotel, opening in July, will add eight beautifully appointed suites and an indoor/outdoor lobby bar and social lounge to Bayfield’s historic downtown experience. 

A mélange of architectural structures, cosmic mappings, South American textiles, hieroglyphics, and Indigenous symbols emerge in vivid, balanced color in Eamon Ore-Giron’s paintings. Often rendered in flashe and mineral paint on large-scale linen canvases, the works are enveloping and visionary, transporting the viewer into Ore-Giron’s flat, geometric vistas.

Currently based in Los Angeles, the artist is deeply influenced by his surroundings. He was raised in Tucson by a Peruvian father and mother of Irish descent, embedding him within a distinct medley of global cultures from Latino and Indigenous to Andean and European. The visual language of this mixed heritage is evident in his paintings, particularly his more recent Talking Shit and Infinite Regress series.

On view now as part of Competing with Lightning / Rivalizando con el relámpago at The Contemporary Austin, the works make a stark departure from Ore-Giron’s earlier figurative pieces and instead favor symmetries, geometric shapes, and ancient motifs. The more vibrant of the series is Talking Shit, which was born out of the artist’s time in Guadalajara, and engages with the gods of Mexican and Peruvian cultures. In the massive, 204-inch-wide “Talking Shit with Amaru,” Ore-Giron interprets the mythological serpentine creature of Incan and Andean lore. The two-headed beast is thought to transcend boundaries between the spiritual and earthly worlds, which appears in the work through careful cross-sections and a shapely form that leads in several directions.

Infinite Regress shifts to metallics, with wide swaths of gold emanating from a central totemic form. “In philosophy, infinite regress is a sequence of reasoning which can never come to an end: a paradox of infinite regeneration that disproves the concept of fixed knowledge—in connecting one element to another, a third one is always interpolated and so on, endlessly,” a statement about the series says. Through thin lines reaching distant intersections and circles nestled in color-blocked stripes, many of the works evoke a distant horizon, the always unreachable and ever-recurring point.

If you’re in Austin, you can see Competing with Lightning / Rivalizando con el relámpago through August 20. Otherwise, find more of Ore-Giron’s works on his site.

“Talking shit with Coatlicue” (2017), flashe on linen, 79 9/10 × 65 inches

“Black Medallion XXIII” (2023), mineral paint and flashe on linen, 72 x 72 inches. Photo by Charles White/JWPictures.com, © Eamon Ore-Giron, courtesy of the artist, James Cohan, New York, and Fleisher/Ollman,
Philadelphia

“Night Shade” (2016), flashe on linen, 84 x 60 inches

“Infinite Regress CLXXXIV” (2021), flashe and mineral paint on linen, 120 x 120 inches. Photo by Charles White/JWPictures.com, © Eamon Ore-Giron, courtesy of the artist, James Cohan, New York, and Fleisher/Ollman, Philadelphia

“Black Medallion XV (Mama-Quilla)’ (2023), mineral paint and flashe on linen, 174 x 300 inches. Photo by Charles White/JWPictures.com, © Eamon Ore-Giron, courtesy of the artist, James Cohan, New York, and Fleisher/Ollman,
Philadelphia

“Infinite Regress CLXXXVIII” (2021), mineral paint and flashe on linen, 120 x 156 inches. Photo by Charles White/JWPictures.com, © Eamon Ore-Giron, courtesy of the artist, James Cohan, New York, and Fleisher/Ollman,
Philadelphia

Installation view, Eamon Ore-Giron: Competing with Lightning/Rivalizando con el relámpago, The Contemporary Austin (2023). Artwork © Eamon Ore-Giron, courtesy of the artist and James Cohan, New York. Photo by Alex Boeschenstein, courtesy of The Contemporary Austin

The artist at work on “Talking Shit with Amaru”

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“The cloak is a talisman from harm, keeping one safe and secure throughout transitions,” says Chilean artist Catalina Swinburn, whose elaborate sculptures use thousands of pieces of folded paper to explore world history. Living and working between Buenos Aires and London, she is drawn to ideas around migration and displacement, turning material derived from books, documents, and maps into large-scale wall pieces and intricate, robe-like compositions.

Swinburn is interested in liminality, the process of transitioning across borders or boundaries in space or time that often requires formal procedures. She focuses on investitures, a term that applies to both an honorary ceremony and a type of garment that covers, protects, or adorns the wearer. “My works are what I called Ritual Investitures that extend power and resistance by the way they are constructed,” she says, “also in the fictional idea of how this can be used as an armour to protect, or wings to fly, or become something you wish.”

Detail of “Il Ritorno d’Ulisse” (2021)

From meticulously folded pieces of paper comes a draping fabric, often mounted onto a panel or photographed as it wraps around a figure’s shoulders. The historically fraught practices of collecting and exhibiting cultural artifacts, ceremonial materials, and human remains is also a touchpoint for Swinburn, as she considers the nature of ownership, power, bias, and representation. She often uses archaeological volumes for her sculptures, culling pages cataloging ancient Roman floor mosaics or antiquities. “Athánatoi,” for example, is woven from vintage sheets containing documentation of displaced glazed bricks from the Palace of Darius, Susa, an ancient city in modern-day Iran.

In archaeology, textiles rarely survive, adding another layer of mystique to craft and garment traditions around the world. “Textiles are among the most visible signs of sacred spaces and sacred roles,” Swinburn says. Using a technique she calls “inset” or embedding, the artist creates a durable fabric with a robust geometric structure that references built environments and patterns employed by Indigenous groups. “The weaving is designed with a stepped pattern inspired from the sacred ruins and old scaffold textiles used in the Andean cultures,” she says. “Referring to the suyu whipala structure, each module is cut and joined together manually.”

“Athánatoi” (2021), woven paper investiture from vintage archeological documentation books relating to the displacement of archeological glazed bricks from the Palace of Darius, Susa, 180 x 150 x 30 centimeters

Books have fascinated Swinburn since childhood, when her father amassed stacks of volumes about architecture and prehistoric civilizations. She finds her source material in charity shops, markets, fairs, and during her travels, often inspired by a unique title or vintage illustrations. “Books for me are like pilgrims: they are also constantly travelling and moving,” she says. “They have passed from different hands, so it holds its narrative, but for me, also the narrative of it’s own journey.” The portability of Swinburn’s materials is a significant aspect of her practice, since she travels frequently. Her technique involves slicing out the leaves, then carefully cutting and folding into precise squares that can be bundled up and taken anywhere.

Textiles have been long been associated with domestic activities and often disparaged as “women’s work.” Swinburn turns the tables on this narrative, exploring the representation of women throughout time or highlighting their absence from the record altogether. She says, “I mostly named all of my pieces out of names for emblematic women: Penelope, Arachne, Inanna, Astarte, Isis, Phoenix, Cocha, Quilla, Copacati, Dido, Aida… I always think, what about if history would have been told from a feminine perspective? I want to bring back these narratives and empower them, for us all to think on how powerful they have been.”

Swinburn will open a solo exhibition in a London chapel with Selma Feriani Gallery this October. You an find more of her work on her website and Instagram.

Detail of “Athánatoi” (2021)

“Apadana” (2021), woven paper from archaeological documentation of stone displaced from Persepolis, 370 x 410 centimeters

Detail of “Apadanis” (2021)

“Cocha” (2021), handwoven paper investiture piece made from selected cut pieces from Latin American maritime seafront atlases and maps, 130 x 150 x 45 centimeters

Detail of “Cocha” (2021)

“Penelope” (2020), performative photo with woven investiture made from scores of ‘Il Ritorno di Ulisse in patria’ by Claudio Monteverdi, 120 x 180 centimeters

“Autobiography of a Yogi” (2019), woven paper, 234 x 270 centimeters

Pieces in progress for “Autobiography of a Yogi” (2019)

“Quilla” (2021), woven paper investiture made from vintage music scores of the national hymns of Latin America, 150 x 150 x 40 centimeters

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