daydream
cotton thread on fabric, 155 x 290 cm, 2024
Daydream is a reflection about the moment of remembering, that translates to the artist as a slice of time that is private, introspective and intimate. The work brings an attempt to highlight materiality, by thinking of the materials as more than a surfarce or instrument, but as an object, an extension of the image, or as a way to suggest attachment, desire to remember; materiality with its own added layers of significance.
daydream at the where we're calling from exhibition @ copeland gallery, may 2024
process
"I played with the fabric yesterday and found a way that really interested me, a way of using it and displaying it, treating it as an object rather than just a surface;. I did two drawings and now I'm trying to decide which one to use for this work.
I like the idea of something overflowing, of a depth, almost liquid. I'm using the idea of memory for these works, so I made two images: the first one, a slice of a moment that is the moment of remembering, the introspective moment of being surrounded by thoughts of the past, diving into yourself. That's usually the way that happens to me: lying down in my bed, that's when and where my memories come back to me. It is usually a moment and space of silence, distancing from the outside world and the obligations of the daily life. It is my intimacy. It is an outside representation of what might possibly be happening on the inside.
After writing my initial thoughts, I think I like the idea of using this image. The other drawing is also a slice of moment and time, and it also relates to the fabric and the idea of seeing it as an object as well. It is another scene on a bed, but it is a memory in itself. Maybe I could use it in another work, because I think it also brings a sense of stillness, silence and remembrance to me." (29.02.24)
artist's journal, 2024
"The technical tutorial gave me a great insight of using the mode of display in a loaded way, carrying the same meaning of the work. Since my work is delicate, maybe I should use a very subtle material to hang it/exhibit it. I loved the idea of the needle as the nail/screw on the wall. It's that allusion to stitching, to the process. There's also this tension/weight of the fabric that should be evoked in the display mode, as it was mentioned. Another idea is adding layers to the work, perhaps another embroidery. This made me instantly remember of that other drawing that I thought of using for this work in the first place. Placing them together will make total sense. Safe shelter. Safe place. A place that is comfortable enought to be vulnerable. A place where I wish to dream about him." (15.03.24)
artist's journal, 2024
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Paying more attention to the material while reflecting on its own possibilities and my relationship with it, I found out that the fabric can reflect into different things by its own. I tried, then, to utilise it as not only the surface, but also as an object.
Relating that reflection to the domestic space, I immediately thought of the room, possibily the most intimate space in the home. Likewise, the bed makes me think of the presence and absence of the body, the place in-between being awake and asleep, perhaps one of the only spaces that it is possible to feel comfortable to be deeply vulnerable.
Thinking about these intimacies that are present in this place, and how personally I feel that it is when my thoughts and memories come strongly to me, I decided to think of the fabric as a bed sheet, running through the floor, overflowing - as I dive deeper into my own nostalgia.
process
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process
Once again, I did a small drawing/sketch and projected it in a big scale to keep the ratio that I wanted.
Following, I started to embroider the drawing on the fabric. Because of the scale of the material and its flowy/maleable characteristic, it took me a long time to finish it, and I was only able to see how the image was turning out when I was almost done. This was an interesting process: I didn't see the representation at all when I was embroidering, only a tangle of lines with its crossing paths and knots.
This process was (hopefully) successfully alluded by the display choice during the exhibition at Copeland Gallery. Instead of using nails, I used needles to pin the work on the wall. It was very subtle (and tricky to install), but I think it added a new delicate layer of meaning to it.
detail