Ana Teresa Barboza

Peruvian textile artist, Ana Teresa Barboza, threads together intricate woven scenes through mediums of yarn and wool. The meticulous thread work adds a tangible dimension to her intricate scenes, sometimes even surpassing their canvas, adding an immersive tangibility to her tapestries. This added dimension gives a degree of topography to her canvas similar to an impasto technique. 

Using thread as a medium imposes its own inherent meaning, indicative of sewing or weaving. It is a conceptualization of a common metaphor of being woven together or falling apart at the seams. Barboza’s subjects are actively sewing themselves together with vibrant, ornate wallpaper-style floral patterns. They tattoo these patterns upon themselves quite nonchalantly, as if this is quite simply how they get dressed in the morning.

Though they seems as if they are clothing themselves with these intricate prints, it also seems as if they are putting or keeping themselves together. This subscribes to a compelling narrative that we sometimes come undone and that we can repair these holes or fragments with beauty of our own making. 

Her landscape scenes are creations that border on a line between embroidery and sculpture. The woven scenic environments spill out of their bordered canvases, a concept that overgrowth has no eye for containment. These scenic landscapes give testament to the boundless quality of nature. Waves splash outside of the confines of the embroidery hoop. Rivers continue their stream until it puddles on the floor. Grassy valleys meander their way through mountains and find themselves wildly growing in each direction.

From an excerpt found on Now Contemporary Art :

“I’m interested in the different concepts one can arrive at by using clothing and embroidery as an artistic medium. An important part of my work revolves around the human body. At first, I used needlework and embroidery to fragment, recompose and decorate the human body. I worked with self-portraits; photographs printed on fabric that were later intervened with embroidery, and decorative patterns that served as camouflage.
Later, after my first exposition, Modos de Vestir, this look toward the human body and the human interior was displaced outward, toward my surroundings. Through embroidery and hybrid garments I ascertained the different bonds that unite us with other people. I used the dress as a metaphor for different relationship modalities, highlighting how relationships condition us in specific situations and force us to adopt specific behaviors— making the garment an extension of the manner in which we relate to others.”

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