There is a moment when a thought trembles, quietly, not enough to be formed into words. Just a tremor that crosses the room, lingers in suspension, and then disappears. But before it completely vanishes, that thought grazes the surfaces, weaves into the threads, and clings to every fibre. It lingers there, where no one can see it. It blends with matter, with the sand that cascades slowly, pulled by gravity, with the passing shadows. Even when a person is no longer there, even when the gesture dissolves, those thoughts remain.

Not enough thought, not enough words, not enough movement to truly uncover, narrate, and preserve what once was there. The presence of masculine fabrics, deliberately chosen, builds a symbolic and delicate barrier. The artist reflects on the historical weight of patriarchal powers that, over time, have rendered women’s labour, women’s gestures, and their sometimes underestimated presence invisible.

The textile, emptied of bodies, vibrates and releases memory, like casings that preserve, but cannot fully contain, the complexity of the lives that passed through them.

In this work, however, the fabrics are not mere scenographic elements. They have been dismantled, opened, and manipulated to reveal their internal structures, tailoring, seams, padding, interfacing, and all that is normally hidden from view. Every intervention performed on the materials brings to light the hidden, unseen labour that underlies every formal construction. It is an act of unveiling that echoes the lives and labour of the women historically confined to the margins of storytelling. Time and again in the history of womens importance in textile production, their contribution has been essential but often concealed, stitched into the shadows and taken for granted. It was dissolved in the undercurrents of places and people that have built realities. But places are defined by people, and people carry memories.

The work thus becomes an act of intimate archaeology, where matter becomes both narrative and delicate questioning. The embroidery, in particular, takes on a deeper meaning: it reflects a mapping the artist has traced of the space, based on the marks in the floor, left over by labour in the spaces of the spinning mill. Each thread, each stitch, becomes a line of connection between past and present, transforming the textile into an emotional and historical cartography.

The artist’s movement through space, intertwines through sand and the trembling of textile installation, is not merely physical acts, but an attempt to ground cascading thoughts that flee into memories, labour and relationships that have silently shaped not only individual identities, but the common identity of the community.

Thoughts pass through a time that cannot be stopped, turning lives like pieces of fabric, one by one. It opens them, turns them inside out, follows their frayed seams, their worn edges, as if looking for a thread to stitch back together or a story to hold onto before it slips away. Before a memory becomes unfamiliar. Thoughts return, spin, disperse. And yet they remain, within every fibre, held in the silence of what had the courage to tremble. Invisible and present, like everything deeply lived yet never fully understood, leaving behind a trace, light as silk, within the weave of time.

(text by RARE)