VOCES (DES)BORDADAS

When a voice disappears, new worlds unravel. Rooted in the artist’s personal process of mourning her grandmother’s loss of speech due to aphasia, this work traces the borderlines of a voice —not its content, but its texture, its imprint, its echo. Through a series of embroidered panels and “soft” handmade speakers, voice is not represented but translated: each thread a fragment, each fabric surface a receptive membrane that carries sonic memory into tactile form. These textiles map an unstable cartography of voice and absence — a hypertext(ile) where the memory of a voice is material, resonance, and trace. They become sites of overflow —desbordar— where voice spills beyond audibility and into the felt. What new forms of communication, care, and connection emerge when voice becomes something we carry —not through sound, but through gesture, memory, and touch?

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A mi abuela

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Llegan las sílabas como arritmias:
Words overflow the textile, exceeding their sonic materiality to leave another kind of imprint. They spill outward, becoming plural, asynchronous, patterned. Within these layered traces, a palimpsest emerges. Amid the fabric’s transparencies, repetitions flicker into view and vanish again: a voice within a voice, circling the edges of the material. Evanescent, ghostly, these voices come into view and out of view. Tracing the edges of an absent voice, a new cartography becomes expanded.

La tela se convierte en receptora de voces que se des bordan.

My thesis was, and is an ongoing project about my grandmother’s process of losing words. It was a continuous effort of building through fragmentation. A hypertextile was born through retracing scattered pieces across wavelengths and echoes; linking through non-linearity. It is an exploration of the absent. Of remembering a voice, and mapping the grief that comes through tracing it back.