Ana Teresa Barboza
Bio
Ana Teresa Barboza (Lima, 1981), uses weaving and other traditional craft techniques to convey to the viewer a meditative and powerful observation of everything that surrounds her. Initially her work had to do with the awareness of the human body, representing it as a sectioned structure, recomposed and decorated through sewing and embroidery to reflect on its relationship with others.
Subsequently, that gaze moves towards her surroundings, to focus on the links that unite her with others and her work inflects to acquire a more social character, opening up to reflect on the transformation of nature and the relationship or contact of humans with it. , for which she uses embroidery and weaving to make a parallel between manual work and the processes of nature, creating structures with the thread similar to those made by a plant, for example. Some works simulate experiments that seek to recompose nature with another order, teaching us to look at it again.
His current work seeks to relearn the work of artisans to reestablish contact with the manual and bodily processes with which heritage, culture and images have been taking shape and show the traces left by the body and nature in them.
Graduated from the Faculty of Art, she has participated in individual and collective exhibitions in South America, North America and Europe and has extended studies and carried out residencies in Paris, Taipei, Geneva, Lima and Spain. During 2022 she has been selected for the Paiz Art Biennial (Guatemala), Sidney Biennial and Cuenca Biennial (Ecuador) and has had an individual exhibition at Malba. Museum of Latin American Art of Buenos Aires.
Statement
Using the techniques of embroidery and weaving that characterize most of her work since 2006, the artist turns her gaze towards nature and relates the invisible structures and the growth processes of plants – so slow and almost imperceptible to our senses. – turning them into metaphors of manual work with weaving and embroidery, by superimposing different fragments of time in images composed of thin threads of color.
With our hands we begin to transform nature to make tools, waiting to introduce comfort in our daily work. Within these practices are the artisan modes of production techniques, such as weaving and embroidery, which still maintain their affinity with the pulse of natural processes. Weaving and embroidery thus resemble the invisible growth of the structures of the plants, in a slow manual work, which freezes and superimposes different fragments of time in an image composed of thin threads
