MUDA, the first solo exhibition of Carlos Herraiz with the gallery and our first exhibition in Barcelona.
In the same way that many animals need to shed their skin, the butterfly needs the chrysalis state so that metamorphosis, the process of transformation from larva to butterfly, can take place. Carlos Herraiz does the same with hundreds of fabrics he has found and collected over the years. Through his passage through different cities, Herraiz builds an archive of textiles of diverse origins. Sheets; tablecloths, old paintings, fabrics transformed by rust and mould, buried fabrics, scraps and remnants of clothes returned by the sea tide, discolored by the sun, and inherited clothes, form a textile collection in which they act as mementos, or self-referential elements of each one of the experiences in the places where they were found.
The neighborhood, the streets, the ground, have been the artist’s places of play, exploration and encounter. In the studio, he begins the process of resignifying the found objects. In ‘Muda’, the canvas ceases to be rigid and tense. Herraiz approaches the material from its fragility and vulnerability, exploring different installation devices for the fabrics in the space, new exhibition forms and new ways of interacting with the viewer to create a participatory and sensory experience.
To create this body of work, first presented in ‘Muda’, Herraiz reconnects with the processes of sewing, embroidery, hanging, gathering, braiding and linking, using them as a metaphorical bridge to weave the personal with the collective, joining these hundreds of fragments to then cover them, protect them; thus keeping them in this intermediate space between moult and chrysalis.
In the same way that many animals need to shed their skin, the butterfly needs the chrysalis state so that metamorphosis, the process of transformation from larva to butterfly, can take place. Carlos Herraiz does the same with hundreds of fabrics he has found and collected over the years. Through his passage through different cities, Herraiz builds an archive of textiles of diverse origins. Sheets; tablecloths, old paintings, fabrics transformed by rust and mould, buried fabrics, scraps and remnants of clothes returned by the sea tide, discolored by the sun, and inherited clothes, form a textile collection in which they act as mementos, or self-referential elements of each one of the experiences in the places where they were found.
The neighborhood, the streets, the ground, have been the artist’s places of play, exploration and encounter. In the studio, he begins the process of resignifying the found objects. In ‘Muda’, the canvas ceases to be rigid and tense. Herraiz approaches the material from its fragility and vulnerability, exploring different installation devices for the fabrics in the space, new exhibition forms and new ways of interacting with the viewer to create a participatory and sensory experience.
To create this body of work, first presented in ‘Muda’, Herraiz reconnects with the processes of sewing, embroidery, hanging, gathering, braiding and linking, using them as a metaphorical bridge to weave the personal with the collective, joining these hundreds of fragments to then cover them, protect them; thus keeping them in this intermediate space between moult and chrysalis.
