What part of textile history interests you the most? Are there any textile artists that you are influenced by?
I’m drawn to the way textiles hold patterns that function as secret languages, cultural symbols legible only to those who create or study them. Within that, my main focus is on the history of the rugs from my region, where weaving is more than a craft, it is identity, memory, and the rhythm of daily life. A key reference in my practice is Laura Meroni, whose philosophy of being different and being unique resonates deeply with me.
Where/what do you look to for inspiration? Has this changed over time or stayed
constant?
A large part of my inspiration comes from the calm and peace of my immediate surroundings. My aesthetic is also shaped by my other personal interests, architecture, fashion, and photography strongly inform my work. My experiences and worldview bring a unique touch to my inspiration, motivating me to keep weaving. As I continue to mature, I embrace my ideals and the vision that guides my practice with greater conviction.
Tell us about your process, start to finish how you conceive of and make your
pieces.
I like to think of my pieces as records of my life, my weaving process is my way of being in the world and how I record my life. Conceptualizing a new project can take me weeks, until everything finally aligns in my mind. My dyeing process is deeply focused on understanding the natural rhythms of nature and how this impacts my work and its progress.
What does it mean to you and your weaving practice to be a 4th generation weaver? How does your Zapotec heritage influence your relationship with textiles?
As a member of a living culture it’s a big responsibility carrying the knowledge, values, and discipline of the generations before me, but also I enjoy finding my own voice within the tradition.
We live in a rapidly changing world, where the appreciation for handmade work becomes increasingly fleeting. Part of my relationship with this practice is exploring how to keep it relevant today, how to assert its value in an era that moves so quickly. Every piece I make is connected to my family, but it is also a reflection of who I am today and how as a Zapotec weaver I live the present.
How do you balance your respect for traditional textile practices with the desire to push them forward and innovate them?
I like to remain in constant harmony with my surroundings. I find meaning in the idea of belonging to a middle ground within tradition, where the legacy is respected while still engaging in dialogue with the present.
I treat tradition as a foundation, I honor the practice, techniques, motifs and values I grew up with, but I let my own experiences, aesthetics, and questions guide how I transform them.
What role does the surrounding environment and landscape play in your work?
My context shapes my work in a profound way. Living in a small town rich in tradition and culture allows me to find beauty in the details, old customs, local stories, and ancient knowledge. These elements keep me grounded and authentic, reminding me to embrace simplicity, to listen deeply, and to let creativity unfold naturally from a place of calm.
Can you talk about your use of color and dyeing in your work?
I see my color palette as a way for nature and experimentation to express themselves. In my handwoven pieces, each color is bold, with its own personality, adding a unique texture to the work. When I dye, I approach the process with curiosity. The colors don’t always turn out as I expect, and I love that. For me, dyeing is wisdom, research, and patience. It’s a slow, thoughtful practice that allows me to listen closely to my materials.
What role does improvisation play in your current work?
I like to call it intuitive style, the heart of my creative process. Making decisions spontaneously as I weave fills me with a profound sense of freedom. I remain in constant dialogue with my materials and my loom, because, at the end of the day, we only know how the piece will unfold. To me, the power of artistic expression lies in its ability to convey the creator’s emotions, translating inner feelings into tangible, living forms and that is exactly what I experience when I weave freely.
When I consider your design and dye process, alongside the hours of daily weaving, these pieces tell a story of patience and duration. Is time something that you consider when you’re thinking about materials, color, scale, or even the imagery in your work?
Interestingly, when I conceptualize a new idea, I don’t think about how long its production will take, but rather how much it will challenge my weaving skills. With that in mind, the process naturally begins to take shape. However, in my selection of materials and colors, I rely entirely on the time required by all the processes behind each element, so that I can finally hold a dyed or un-dyed thread in my hands.
How do you imagine your work evolving in the future?
I envision my work growing sustainably and reaching wider audiences worldwide through exhibitions, collaborations, and educational initiatives. As I expand, I seek to be a strong and authentic reference for contemporary Mexican textiles not only for the uniqueness of my designs, but, most importantly, for the values I uphold as a Zapotec weaver. By sharing my process and principles on an international scale, I hope to inspire other younger weavers to engage more consciously with materials, creativity, and the environment, contributing to a wider movement rooted in cultural integrity, respect, and responsible artistic practice.
