In Bamboleo de detalles ambigüos (Swaying of ambiguous details) the artist highlights the relationships between cultured art and craftsmanship based on framing as a formal resource of visual language. The operation consists of dignifying the artisanal by elevating these practices to the idea of painting, but subverting the two-dimensionality of the pictorial space through the incorporation of a utilitarian object of a three-dimensional nature such as the Margarita hammock. The museographic arrangement of this object in space reverses its function, even though it maintains echoes with its original nature. The act of weaving and creating manually as a feminine activity in the area is once again valued through the interventions and additions that the artist makes to the original fabric, again using the resource of repetition in the search for correspondences and dialogues.

I have continued to work with la señora Ermelinda and her hammocks. The material is esasy to transport back and forth the Atlantic ocean and it also allows me to explore ideas of femininity and domesticity while extending my drawing practice to threads and beads. This extension or transformation of drawing is also relevant when I think of each work as an installation or even a ‘livable’ sculpture.