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STATION, 2020 | SERIES
 

Hello, I am Hug Station.

 

My mission is the union of love and affection through the embrace: - A Hug -.

 

I want to unite what politics has separated, I want to bring closer what Covid-19 has distanced, I want to reconnect acquaintances and strangers, I want to give life back to what no longer has it, through touch and embrace. - That is what I exist for -.

Hug Station is an installation in which the individual is invited to recover what has been lost, to be part of the installation and experience all those emotions for himself, to give life to an object that no longer has it. Every detail of the work is loaded with meaning.

 

When we suffer from loneliness, our refuge are the blankets, the bed, the quilt. In them we feel safe, relieved and protected from the outside world. - It is a save zone, like a mother's womb -. We wrap ourselves in the blanket and, curled up in the fetal position, we cry our sorrows, alienated from the evils of the outside world. This is why each Hug Station is created with blankets, used, lived and cried; blankets that have absorbed the stories of their occupants and act as containers of stories and experiences, absorbing each one to return a tender, soothing caress. A whisper of relief in fabric.

Fabrics: We all know their properties, we feel at ease in their presence, that is why I use them as the basis of my works. To attract the viewer and tell him: it's okay, come closer, touch me.

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The overlapping sleeves, made of discarded, abandoned and forgotten jacket sleeves, represent death. The death of contact by Covid-19, the people killed by this catastrophe who did not have time to say goodbye to their relatives, to touch them one last time, to give a last hug, leaving their shattered families in a limbo where death seems a mere illusion. When you cannot say goodbye to a loved one, death becomes abstract and intangible, an illusion that the brain does not want to assimilate. That is why, A Hug Station is created by many, many sleeves of different types, superimposed without measure, because people come in different formats and shades.

 

Through the interaction of the spectator who introduces his arm into a hole - without knowing what is on the other side - gives life to those who no longer have it, giving back the opportunity to all those lives to touch and embrace, to reconnect with a stranger or a friend, to come back to life through touch. Something lost is recovered, the tact, the contact... and, through affection, life is given to what seems to be a monster, a being that wraps you in its arms, or maybe they are tentacles? It grabs you, touches you and hugs you tightly.

Endorphins are released on both sides of the blanket. The blanket and his arms remain as symbols of lost love, love between strangers through touch. What has no life is filled with it. And the opportunity to say goodbye to those loved ones materializes in the embrace, encapsulating their story once again within the blanket's web of fibers.​

 

The union gains strength and, no matter who is on the other side, it doesn't matter what has separated them because everything is gathered in an embrace.

SISTERS, 2020 | SERIES

The work Sisters talks about empowered women scattered in space and time. Women who had much in common: strong character, same dream, an eagerness to exist, wanting to be visible, to be free, to be taken seriously. They are sisters in spirit and thought and, although they never met, they were characterized by expressing their beliefs to society through dress and color. The work Sisters collects those textiles loaded with the experiences of rebellion against patriarchy, and merges them together, creating a single work that collects them all : a garment that tells the story of their courage and strength - unifying them - twinning them, to unify their desires and strength and turning them into the sisters they have always been.

STATUS ELECTOR, 2020 | Series

Status Elector is a reflection of society: of its different layers and strata and how, although we all need each other to exist, we are in constant battle. In a yin and yang approach, wasted textiles represent what happens to the social classes with less socioeconomic power, intermingled with rough, hard and visible stitches with the textiles of blazers, which represent the economic class exalted by neoliberalism - the business man-. Through this union, a strange being is created - a being in battle with itself - a monster with shoulders coming out of its back, and through which the spectator can slip in. By interacting with the work, from the inside, the spectator can choose the social class to which he wants to belong, he can choose the skin of one or another. He can understand both, mimic, empathize, and at the same time represent both. But, by activating it, it soon happens that the emotional burden that comes with this badly formed and distorted society is transferred. Because when you understand and belong to both groups, you understand the rejection between them and the continuous prejudice against otherness that we inherently carry in society.

BIG HUG, 2021 | SERIES

A textile sculpture is born through upcycling: a response to an increasingly divided and strained society that focuses on highlighting differences, rather than on unified understanding and strength. The work is composed of textile pieces that have the ability to assemble and connect, to create a single textile sculpture that unites and intertwines what is normally separated. The work is a superskin that houses a five-headed, ten-legged and two-armed superbeing, brought to life by five intertwined bodies.  The superbeing is created through the embrace of the performers, an entity that appears before us as a symbol of union, understanding, compassion, humanity, balance and harmony, as a reminder that we all form and depend on the same world; under the same sky, the same shelter, or the same embrace.

PRINT, 2O2O | SERIES

A Hug Print is the print left through life, feelings and emotions. In it the hug is materialized and the lived moment is registered, transmitting its energy to the spectator. Through this work, something as everyday and inherent to human beings as the hug is recovered. A gesture that unites two people and makes the energy flow between them, leaving its mark.  The spectator interacts with the space and leaves his mark on it. He explores the colors, the body, the fabrics, the sounds; he experiences them and leaves his trace in each garment. The joint embrace of the performance and the spectator are positivized in the textile, leaving a trace in a unique and genuine piece.
WEARABLE LANDSCAPES, 2020 | SERIES

The interweaving of the fibers of any textile does not only contain fluff balls, but also stories. Secrets that have been trapped in the mesh through the friction of the skin of the former occupants. That is why each and every textile scrap has something to tell. In the work Wearable Landscapes these precious fragments are brought together to merge into something new: a landscape of emotions. But these textile landscapes must be felt, not just hung up; they must be worn close, not just looked at; their fabrics must touch and caress our skin. Only in this way the trapped stories will be released, only in this way the hidden emotions can be activated and only in this way they can be charged with new stories to continue growing.
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