Oslyn Whizar

Her work is mainly interested in textiles. Her creation, by the way of weaving on a frame loom. Her pictorial qualities through the work she has entitled textile paintings. Her relationship with fashion and the dressing of the body, through the series in continuous production of dress-collage. And her dialogue with other materials through her recent exploration with ceramics. The assembly, sewing, weaving and recycling as ways to build objects that, while formally fit in a gallery or museum, can also be carried, used. She is interested in creating art that is versatile in its consumption. To be contemplated, to be carried, to adorn and to contribute.

She finds that certain qualities in textiles, such as their textures, their malleability, their fabrication and the energy that they hold, are factors that have captivated her and called her to work with them. Being in contact with the fibers opens a personal connection with the ancestral, where she finds amazement and belonging. Factors that over time have become important drivers in her creative work. Her base materials are mostly vintage and reused deadstock; industrial or handmade fabrics and textiles, objects such as jewelry boxes and accessories, unused clothing, etc. It is important to her the reuse of existing materials, their recycling and reinsertion in the aesthetic plane. She strongly believes in the concept of the animism of objects, so much so that she resorts to the narratives of past lives in second-hand garments and objects. She is interested in constructing pieces related to the concept of labor, because I believe that the energy embedded in it makes a difference. Objects are charged with energies, human or mechanical, and he thinks that it is in the manufacture and in the use, where the fiber absorbs its energy and becomes charged with tactility. This makes the textile hold a particular expressive capacity when it comes to making them take shape in the process of making art.