Espacio Háptico was an interactive fashion and design exhibit showcasing the latest e-textile and smart fashion work created at Fablab Yucatán during my stay for Fabricademy 2017.
The event was choreographed as an immersive experience at Casa Dominga, a hotspot in Mérida for contemporary food, culture & entertainment.
My latest work, among which my final project IO<3, the Internet of Hearts, created for Fabricademy 2017, the Electric Embroidery created with the Mayan artisans of the Cooperativa Flor de Margarita and the brand Theda and the work of emerging Yucatecan fashion designer Melina Goytortúa were showcased at the event, together with an advanced architecture pavilion created by Mexican architect Alejandra Diaz.
Light and Processing-based music installation was curated by Rodrigo Gamboa and Luis Mayorga.
ELECTRIC EMBROIDERY - MAYAN COMMUNITY
Electric Embroidery is the result of a collaboration between Theda, a fashion brand that creates contemporary fashion with Mayan Embroidery, Cooperativa Flor de Margarita, a mayan cooperative of textile artisans who are growing their skillsets in yucatecan mayan embroidery and myself.
The aim of the project was to interchange knowledge between myself, recent graduate of Fabricademy, a textile and technology academy and the artisans of the cooperative. More specifically, I thought that it would be interesting to share with them the knowledge on EMBROIDERING CIRCUITS that I had learned and practiced during Fabricademy, and see what kind on reaction it would get from the artisans. Wearable interfaces are on the verge of becoming mainstream in the global fashion and sports market, and the idea of making this technological knowledge available to a group of artisans is for me critical to ENABLE DIVERSE SOCIO-CULTURAL GROUPS SHAPE NEW TECHNOLOGY.
Against the current model where much of the technology adopted by the rest of the world is designed developed and sold by a very homogeneous and privileged group of people sitting in offices far away from the realities of a lot of the world, I propose an approach to technological appropriation that invests artisans communities with the role to MAKE NEW THINGS & NEW MEANINGS WITH THE TOOLS CREATED BY INNOVATORS. The results? A more rich approach to new user experiences.
FABRICADEMY - YUCATÁN
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SYSTEM RECOVERY @ FABLAB YUCATAN
While I was following the Fabricademy course in Yucatan, I got involved in creating a small collection of smart fashion garments for the computational fashion show "System Recovery Año 2". The event was organized and held at Fablab Yucatán in December 2017.
For this event I created 4 smart fashion garments utilizing parametric design with Grasshopper, laser cutting, 3D printing and e-textiles: a voronoi dress, a heartbeat top, a seamless pattern cocktail dress, and a parametric wooden vest.
Together with me, two Fashion Design Students from Merida, Melina Goytortúa and Sara Alarcón, also presented 3 creations each.
We showcased our creations again in March 2018 in occasion of the yearly FILEY event in Merida.
EMERGING GODDESS - COLORADO
SUMMER ART RESIDENCY IN BOULDER, CO
After Peru, I spent 2 months as a summer research and art resident at ATLAS Institute, CU Boulder working on an interactive art project with Laura Devendorf, Assistant Professor at the University. We used thermochromic ink and conductive yarn to explore the possibilities of dynamic pattern creation on a handwoven textile display, controlled by an Arduino.
The display is triggered by the proximity of the observers, inviting them to pause and let time go slower, vs instant feedback response mechanisms we are used on our everydat technology. As the yarn heats up, a dynamic pattern emerges from the blue canvas, suggesting a Milky Way of stars, a colony of bacteria, appearing and disappearing in a wave.
The work has been exhibited at the conference “INTERSECTIONSCollaborations in Textile Design Research” held in London on September 13, 2017.
TEXTILE CRAFT - PERU
A recent journey to Peru took me to immerse myself in the rich array of cultures that have preceded and survived the Spanish colonial influence in this country.
Specifically, my focus was on learning about traditional Peruvian weaving through a hands on + theoretical approach: by learning the backstrap loom weaving technique from scratch, natural dyeing of the wool threads with local ingredients, and learning about the iconography of Andean textiles as information panels, transmitting complex information about social memories, such as cosmology, astronomy, religion, myths and history.
In Andean culture, textiles, as well as all elements of the Universe, are ALIVE.
There is no distinction between animated and in-animated beings, so textiles themselves are living beings connected to the broader web of relationships that each creature has with the rest of the Cosmos.
I came back from this adventure with the understanding that it is our responsibility as humans to ensure this complex and rich art survives and continues to evolve, together with the culture it intertwines so harmoniously with.