This work began with a smell: the smell of petrol, which I last smelled in Venezuela, the country where I was born.
I became interested in the way certain memories persist through the senses, even as images fade with time.
Here, tar acts as an invasive substance: something that permeates and leaves a lasting stain.
The textiles are soaked directly in this substance; I wanted the fabric to undergo this contamination physically.
I use industrial lace because it belongs to a collective domestic imagination — curtains, tablecloths, family interiors — whilst also echoing a more personal memory linked to my German grandmother who lived there.
For me, the way the fabrics are suspended in space creates forms reminiscent of skins, relics or traces. I am also considering incorporating an olfactory dimension so that memory is evoked not only through sight but also through the viewer’s body.