For over ten years, I have focused my gaze on the problematic relationship between sustainability and fashion. These questions have shaped the way I see the world as a conversation of threads and needles, where everything makes sense when I say that weaving is what brings us closest to God.

From an understanding of the universe as a textile, I have developed a methodology for social, environmental, and personal mending through the act of repairing clothes. I have shared this methodology through a socially engaged art project called The Mending Club.

Drawing on theoretical materialism and ecofeminist practices, I propose forms of community-based art in which participants take needle and thread in their hands. This is one of my missions: to place needle and thread in people’s hands so they can see what I have seen—what cannot be seen with the eyes, but can only be seen with the hands.

Through my practice, I seek to articulate a solid concept of a “culture of repair” and to keep this culture alive.

I also understand the needle and the thread as word and message, creating works that weave immaterially by awakening conversations that strengthen the social fabric through the threads of the voice.

Likewise, I integrate textile practices into contemporary values through projects such as Textile Tattoos and The Mending Clubs, which recognize that time for repair—often perceived as no longer existing—simply lives elsewhere and can be reclaimed.

I have come to understand art as a technology: a set of methods and tools used to facilitate solutions to problems. The technology of art refines the bodies of those who practice it, allowing them to perceive realities in everyday life that are not immediately visible. The work of the artist, then, is to facilitate problem-solving by revealing to others what has been seen. And my work as an artist is to disclose the divine knowledge of life delivered to me by needles and threads to be applied in the solution of contemporary problems.