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7:25 (pirata, cositas, tortuga, elefante, avión)

2004

Cinco bordados a mano sobre transfer fotográfico en tela de algodón
62 cm ∅ c/u

enero, 7:25
Galería Gabriela Mistral, Santiago, Chile
2004

 

La muestra individual enero, 7:25 estuvo conformada, además del gran mural de servilletas de papel, por un conjunto de cinco bordados a mano, de pequeños juguetes a escala natural. Teniendo como antecedente little riddles, realizada el año anterior, me pareció interesante crear un contraste de escala entre la monumentalidad de aquella cama de niño (de catorce metros de largo y más de tres metros y medio de alto) y los juguetes que, enfrentados a ella, se transformaban en insignificantes habitantes de esa misma habitación.

 

El acto repetitivo de colorear una a una las servilletas de papel se desplazó así a las innumerables diminutas puntadas con las que construí esas imágenes, dando cuenta de un modo similar del tiempo y dedicación invertidos en su realización.

 

Obra financiada a través de un Proyecto Fondart, Consejo de las Artes y la Cultura, 2004

 

 

7:25 (pirate, little things, turtle, elephant, airplane)

2004

Five hand-made embroideries and photographic transfer on cotton cloth

62 cm (24,4 in) diameter each

enero, 7:25
Galería Gabriela Mistral, Santiago, Chile
2004

 

The January, 7:25 exhibition was composed by a mural of paper napkins of the same name, and a series of five hand-made embroideries titled 7:25 (pirate, little things, turtle, elephant, airplane). These embroideries were made with a production system similar to the mural of napkins, as far as the use of a restricted color palette, since in both cases –color pencils and embroidery threads– the chromatic palette was given by the colors available on the market.

 

However, while the paper napkins took a bed of a child to scale of enormous dimensions, under which some toys hid, the embroideries presented an assembly of similar, but very small toys, and this time, in life size scale. Somehow then, the approach of the spectator to both pieces was opposite: while facing the mural the viewer could undergo the sensation to corporally feel diminished in front of that colossal bed, the approach to the embroidered toys caused an intimate contact, with the insistent observation of each tiny stitch.

 

Work funded through a Fondart Project, Ministry of Culture, 2004

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